DOCSLIB.ORG

The Tallis Scholars I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Tallis Scholars I The Tallis Scholars I A Secrest Artists Series Event 7:30 pm, Thursday , March 29, 2007 Wait Chapel, Wake Forest University secrest artists series Winston-Salem, North Carolina ••• The Tallis Scholars Peter Phillips, director Soprano Tenor Tessa Bonner Andrew Carwood Janet Coxwell Nicholas Todd Chris Watson George Poo ley Alto Bass Patrick Craig Dona ld Greig Caro line Trevor Robert Macdonald Messa a quattro voci da capella ................. Claudio Monteverdi ( 1567-1643) Peccantem me quotidie ........ ,.... ,..... Giovanni Pierlu.igi Palestrina {1525-1594) Oum complerentur .............. , ............ G iovanni Pi erluigi Palestrin a INTERMISSION Media vit a ............................ N icolas Gombert ( 1495-1560) Media vita .......................... Orlande de Lassus (1532-1594) Stabat juxt a ....... , ...................... John Browne Magnifi cat IV ................... ... Nicolas Gombert In North America, The Tallis Scholars are managed by: International Arts Foundation, Inc. 201 West 54th Street, Suite lC New York, NY 10019 www.internationalartsfoimdation.com The Tallis Scholars record for Gimme ll Records www.gimmell.comwww.thetallisscholars.co.t,k The Tallis Scholars American Tour - 24th March to 1st April GregSkidmore One of the unique features of the history of Renaissance music was the variety with which the basic compositiona l idea of vocal polyphony was mterpreted in different countries and at different times. Tonight, the Tallis Scholars present music written over a span of over 140 years by compos- ers from varymg national backgrounds, and it will be possible to see both contrasts and similarities m their music. Most consider Claudio Monteverdi to be a Baroque composer. Even though his introduction of the seconda prattica has long been considered a watershed moment in the history of music, Monteverdi wrote in an older style, called prima prattica, throughout his life. In 1650, a posthu- mous collection of sacred music was published that contained the prima prattica ,mass on tonight's programme. It is a simple piece for four voices, abstract, thorough and transparent. Consciously conservative, Monteverdi harks back to the earlier practice of varying vocal texture and accentuat- ing certam passages of te:x:twith homophonic writing. However, the many long, descending, re- peating sequences are very much indicative of Monteverdi's modern style, as this harmonic device can be seen in many of his madrigals and throughout his famous Vespers of 1610. If Monteverdi's mass was written consciously in an older style, Palestrina 's works are the very definition of the purest form of Renaissance polyphony. The clarity and direct simplicity of his music is most noticeable first, but it is nonetheless imbued with emotional feeling and sensitivity. The two pieces chosen for this evening's concert are in stark contrast, highlighting this expressive range in Palestrina's music. Peccantem me quotidie, sets the responsory at Matins for the Office of the Dead in a thick, constant texture, punctuated by near-homophonic declarations of "Timer mortis" (The fear of death) and "Miserere mei Deus" (Have mercy on me, 0 God). It is a perfect example of Palestrina's penitential style, complete with expressive use of harmony and a profound understanding of the text. Dum complerentur, on the other hand, is a burst of energy, making use of largely homophonic rhythmic writing and varying textures in an almost polychoral style blended with florid, scalar blasts of counterpoint. It sets the first responsory at Matins for Pentecost, a text interspersed with the various "Alleluia" interjections that Palestrina uses to such great effect. Nicolas Gombert, born in approximately 1495, was a major fi.gure in the second generation of famous Flemish composers. Unfortunately, his biography will forever be mired in controve rsy, as there was a contemporacy rumour claiming Gombert acted improperly with a boy and was sen- tenced to a period of exile on a ship in the Mediterranean. On this ship, the story goes, Gombert wrote eight Magnificat settings - one in each of the 8 church modes - and these were of such a ••• high quality that they secured his release. Magnificat IV, which closes tonight's conce1.t, highlights his unique and expert use of thick, low and constant textures. It is a marvel of early 16th century Flemish counterpoint, with lengthy sections of dense polyphony, pu nctuated by clearly audible points of imitation . In the last verse, two new voices are introduced within the same ranges out- lined earlier, further thickening the texture and contributing to its powerful conclusion. Gombert's motet Media vita is another example of his mastery of these thick, rich textures. Written for 6 low voices, including the rare inclusion of a baritone part, it is a relentless complex of thorough counterpoint including, in brief passages, writing which suggests the possibility of false-relation dissonances, a technique most strong ly associated with English composers of the time. Orlande de Lassus, born approximately 40 years after Gombert, was the last major Flemish musician in the Renaissance to achieve international super-stardom. His setting of Media vita dif- fers greatly from Gombert's, however, and is indicative of the development of the Flemish style. Lassus sets up a strict long-note cantus firmus construction for this piece, in a conscious attempt to emulate an older style, but the contrapuntal ingenuity of the other five voices attests to the later style of which Lassus was a master, as each voice loosely imitates the general contour of the chant, sometimes in canon with the tenor, sometimes with freely writte n melodies. In this examination of stylistic variety, we have encountered an early Baroque version of po- lyphony and three quintessential Renaissance masters. It is perhaps fitting to include music from the very beginning of this period from a composer who is perhaps less well known. John Browne lived and wrote as one of the most famous and skilled English composers of his day. Born in the third quarte r of the 15th century, he never held a post in the Chapel Royal. However, the work which appears on tonight's programme, Sta bat juxta, contains as its cantus firmus tenor voice, a secular song composed to commemo rate Prince Arthur taking up his duties as Prince of Wales. The prince died in 1502 and the union of this secular song and the text depicting the Blessed Virgin Mary at the base of the cross suggests that the work was written for Queen Elizabeth, the wife of Henry VII. The piece itself is extraordinary in its use of six men's voices and in this way is similar to the rich style used by Gombert. In the Renaissance, sacred music was written almost exclusively using vocal polyphony. Far from being homogenous, however, its variety in emotional vigour and contrapuntal skill makes it interesting to study and captivating to hear . ••• Tallis Scholars Texts and Translations Mes sa a quattro voci da capella ............................................Claudio Monteverdi (1567-1643) Kyrie elei.son. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, havemercy. Lord, havemercy. Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; bencdicirnus l te; adoramus te; glorificarnus te. Gratias agimus tibi propter magnam gloriam tuam , Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite , Jesu Christe; Domine Deus , Agnus Dei , Filius Patris, qui. tollis peccata mundi , miserere nobis; qui tollis peccata mundi , suscipe deprecationem nostram; qui sedes ad dexteram Patris , miserere nobis. Quoniam tu solus Sandus; tu solus Dorninus; tu solus altissirnus, Jesu Christe , cum Sancto Spiritu , in gloria Dei Patris. Amen. Glorybe to God on h~·h, and in earthpeace, goodwill towards men. We praisethee; we blessthee; we worshipthee; we glori thee. We give thanks to theefor thy great glory,0 Lord God, heavenlyking, God the Fatheralmig ty. 0 Lord the only-begottenSon, Jesu Christ;0 Lord God, Lamb of God, Son of the Father,that takest away the sins of the world, have mercyupon us; thou that takestaway the sins of the world,receive our prayer;thou that sittestat the right hand of God the Father, have mercyupon us. For thou only art Holy; thou only art the Lord;thou only, 0 Christ, with the Holy Ghost, art Most High in the gloryof God the Father. Amen. Credo in unum Deum , Patrem omnipotentem , factorem caeli et terrae , visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum , Filium Dei unigenitum , ct ex Patre natum ante omnia saecula . Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum , non factum; consubstantialem Patri; per quern omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de ] Spiritu Sancto, ex Maria Virgine, et homo factus est. Crudfixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurre-x:ittertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivas et mortuos; cuius regni non crit finis. Et in Spiritum Sanctum , Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filia simul adoratur et conglorificatur; qui locutus est per prophetas ; Et unam sanctam catholicam et apostolicam Ecclesiam . Confiteor unum baptisma in remis- sionem peccatorum. Et ex:specto resurrectionem mortuorum , et vitam venturi saeculi. Amen. I believein one God, the Father almighty, Maker of heaven and earth, and of all things visibleand invisible.And in one Lord, JesusChrist, the only-begottenSon of God, begottenof his Fatherbefore all worlds. God of God; Light of Light;very God of very God; begotten,not made: beingof one substance with the Father;by whom all thingswere made. Who for us men, and for our salvation, came downfrom heaven, and was incarnateby the Holy Ghost of the VirginMary, and was made man. And was crucifiedalso for us under PontiusPilate; he suffered death and was buried. l And the third day he roseagain accordingto the Scriptures:and ascendedinto hea,,en,and is seatedat the right hand of the Father;and he shall come again with glory to judge both the quick and the dead; whosekingdom shall have no end.
Load more

Recommended publications
  • 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]
  • 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.
    [Show full text]
  • Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)
    Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 136-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part: 13 canciones and 1 Fuga (or Tiento) in 5 voices transcribed for keyboard instrument or harp and arranged for recorders or other instruments with introduction and critical notes by Arnold den Teuling Keyboard instrument or harp 2017 1 2 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He omitted the intabulations, “glosas”, of other composers, apparently objecting a lack of originality to them. He also gave an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works.
    [Show full text]
  • A Conductor's Analysis of Selected Motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Smith, Kevin Doyle, "The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra" (2004). LSU Doctoral Dissertations. 1235. https://digitalcommons.lsu.edu/gradschool_dissertations/1235 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE STYLE OF MEDITATION: A CONDUCTOR’S ANALYSIS OF SELECTED LATIN MOTETS BY RIHARDS DUBRA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fullfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Kevin Doyle Smith B. S., Eastern Nazarene College, 1994 M. S. M., Emory University, 1999 August 2004 Acknowledgements Thank you to my family, Mendy and Brendan, for all of the sacrifices that you both have made to help me achieve my goals and live my dreams. Without your love, support, and understanding none of this would have been possible. Thank you to Ken Fulton, Sara Lynn Baird, Allison McFarland, Bill Grimes, and Jindong Cai for their dedication to this research and to me.
    [Show full text]
  • I Al the MULTIVOICE SACRED MUSIC of NICOLAS GOMBERT: A
    THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION by Brandi Amanda Neal Bachelor of Arts in Music, University of South Carolina, 2003 Master of Arts in Music, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 al i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Brandi A. Neal It was defended on April 1, 2011 and approved by James P. Cassaro, Adjunct Assitant Professor, Department of Music, Head, Theodore M. Finney Music Library Alan Lewis, Director of Music, Calvary Episcopal Church, Pittsburgh, Pennsylvania Don O. Franklin, Professor Emeritus, Department of Music Francesca L. Savoia, Associate Professor of Italian, French and Italian Languages and Literature Dissertation Advisor: Mary S. Lewis, Professor Emerita, Department of Music ii Copyright © by Brandi A. Neal 2011 iii THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION OF STYLE AND CONTEXT Brandi A. Neal, PhD University of Pittsburgh, 2011 This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495-1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed.
    [Show full text]
  • RSLI Newsletter May 2017 Page 2
    Newsletter May 2017 Vol. 41 No. 3 Message From Our President Dear RSLI Members and Friends, Yet another wonderful RSLI year --- Our workshops have been very successful, our membership has grown, the Meeting Dates for 2017 guest conductors at our playing meeCngs have been stellar, and we January 14 conCnue to benefit from the talents and leadership of our music director, February 11 Rachel Begley. March 11 Our May 13th meeCng is the last regular meeCng unCl September, and the April 8 Cme for us to hold our Annual MeeCng and ElecCon of Officers. You will May 13 find the Slate of Officers elsewhere in this newsleLer. Should you wish to be a candidate or to nominate a member to serve on the RSLI Board of Directors (with their prior permission only), you must contact Donna Basile Meetings: ([email protected]) in advance of the meeCng. This board is the The Recorder Society of Long Island, Inc. backbone of our Society and its members are dedicated to its well-being. regularly meets on the 2nd Saturday Your vote is important and a show of support and thanks to our “Crew”. of each month (September through May) from 9:30 a.m. to 12:30 p.m. We conCnue to solicit much-needed funds for Nina Stern’s ongoing project at St. Luke Lutheran Church “S’Cool Sounds”. Nina has been bringing music educaCon (and recorders!) 20 Candlewood Path, Dix Hills, NY 11746 to underprivileged youth around the world for some Cme, with great Playing begins at 10 a.m. with a break at results.
    [Show full text]
  • The Sixty-Fifth Season of the William Nelso Cromwell and F
    The Sixty-fifth Season of The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art 2,592nd Concert Suspicious Cheese Lords Presented in honor of Prayers and Portraits: Unfolding the Netherlandish Diptych November 12, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Guillaume Dufay (c. 1397 – 1474) Ave Regina caelorum Gilles Binchois (c. 1400 – 1460) Dixit sanctus Philippus Jean de Ockeghem (c. 1410 – 1497) Mort tu as navré Josquin des Pres (c. 1450 – 1521) Ave Maria . virgo serena Pierre de La Rue (c. 1452 – 1518) Laudate Dominum omnes gentes Thomas Crecquillon (c. 1505 – 1557) Vidit Jacob scalam Antoine Brumel (c. 1460 – c. 1513) Benedictus Josquin La déploration de la mort de Johannes Ockeghem ______________ 3 intermission Brumel Mater patris et filia Josquin Gloria from Missa mater patris Jheronimus Vinders (fl. 1525 – 1526) O mors inevitabilis Jean Mouton (c. 1459 – 1522) Gloriosa virgo Margareta Adrian Willaert (c. 1490 – 1562) O magnum mysterium/Ave Maria Nicolas Gombert (c. 1495 – c. 1560) Lugebat David Absalon Elzéar Genet (c. 1470 – 1548) Tibi Christe ______________ 4 The Musicians The Suspicious Cheese Lords, a male a cappella ensemble, sings a reper- toire that ranges from Gregorian chant to contemporary composition. In addition to its National Gallery debut on December 18, 2005, the group has performed at the Smithsonian Institution, the xm Satellite Radio live perfor- mance studio, and a number of Washington area churches. The Washing- ton Post described a recent performance as “genuinely beautiful . rapturous music-making.” The ensemble has been profiled in publications as diverse as the Washington City Paper and Early Music America magazine.
    [Show full text]
  • FLEMISH MUSIC for the HOUSE of HABSBURG the Peak of One Of
    FLEMISH MUSIC FOR THE HOUSE OF HABSBURG The peak of one of Europe’s most extraordinary ruling dynasties coincided with the flourishing musical climate of the 16th century. This program features Flemish music associated with monarchs Maximilian I and Charles V. PROGRAM Nicolas GOMBERT - Magnificat tertii et octavi toni GOMBERT - Lugebat David Absalon Heinrich ISAAC - Tota pulchra es JOSQUIN - Gaude virgo mater Thomas CRECQUILLON - Pater peccavi arr. Ludwig SENFL - Quis dabit oculis nostris ISAAC - Virgo prudentissima SINGERS Soprano Danielle Sampson Ruth Schauble Margaret Obenza Alto Sarra Sharif Doyle Joshua Haberman Tenor Orrin Doyle Kurt Kruckeberg Bass Gabriel Lewis-OConnor Peter Lifland Willimark Obenza The House of Habsburg, one of the most influential royal houses of Europe, shaped the arts world like no other dynasty. In the sixteenth century, the power and wealth of a dynasty were expressed through its patronage of art and science. The most important ruler had to demonstrate that he was also an outstanding patron by commissioning and collecting works of art. Artists employed at the court enjoyed a good income, high social standing, and remarkable freedoms, a rarity during this period of religious turbulence. The program features music by the most famous Franco-Flemish composers employed by Maximilian I (1486-1519) and Charles V (1519-1556). Music was clearly important to Charles V. He collected musicians during his travels, eventually finding Nicolas Gombert (c.1495- 1560) in Flanders and naming him choirmaster for the royal chapel in 1529. He and the singers would travel with the emperor, further spreading the Franco-Flemish polyphonic tradition. He unofficially held the position of court composer, arranging many works commemorating key events during Charles V’s life.
    [Show full text]
  • Jean Richafort Requiem
    ARTIST NOTE des Bois. Josquin’s own death inspired some JEAN RICHAFORT REQUIEM sublime works by Benedictus Appenzeller, Nicolas TRIBUTES TO JOSQUIN DESPREZ It is a great pleasure for us to present this Gombert, Jacquet of Mantua, Hieronymus Vinders recording of music written to honour one of the and Jean Richafort, whose Requiem in Memoriam great composers of the Renaissance, Josquin Josquin Desprez forms the backbone of this Desprez. Josquin’s sacred and secular works recording. We are delighted to be presenting 1 Musae Jovis á 4 Benedictus Appenzeller (c.1480-c.1558) [5.47] have long been a part of our repertoire, thanks these tributes alongside two of Josquin’s 2 Musae Jovis á 6 Nicolas Gombert (c.1495-c.1560) [5.31] largely to the fact that he scored so many works own works in new editions prepared by Dr for 5 or 6 voices, which suits our line-up. David Skinner. 3 Salve regina Josquin Desprez (c.1450-1521) [4.37] 4 Dum vastos Adriae fluctus Jacquet of Mantua (1483-1559) [7.52] Josquin’s influence on choral music in the years The King’s Singers would like to thank David after his death was huge. Throughout the 16th Skinner for his scholarship, and for his 5 O mors inevitabilis Hieronymus Vinders (fl.1510-1550) [2.51] century composers were still using material enlightened approach to the performance of Requiem in Memoriam Josquin Desprez Jean Richafort (c.1480-c1550) from his motets as the basis for masses, this wonderful music. Thanks also must go to (Missa pro defunctis) magnificats, and other motets.
    [Show full text]
  • Dictionary of Music.Pdf
    The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London.
    [Show full text]
  • Universiv Microtlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • Spring 2021 PROGRAM #: EMN 20-42 RELEASE
    Early Music Now with Sara Schneider Broadcast Schedule — Spring 2021 PROGRAM #: EMN 20-42 RELEASE: April 5, 2021 Joyful Eastertide! This week's show presents an eclectic array of music to celebrate Easter, including motets by François Couperin, Jacob Obrecht, Antoine Busnois, and Orlando Gibbons. We'll also hear from two composers based in Hamburg: Matthias Weckmann and Thomas Selle. Our performers include Weser Renaissance Bremen, Capilla Flamenca, Cantus Cölln, and Henry's Eight. PROGRAM #: EMN 20-43 RELEASE: April 12, 2021 Treasures from Dendermonde The music of Hildegard of Bingen has come down to us in only two sources, one of which is known as the Dendermonde Codex, named after the abbey in the Belgian town where it is now housed. We'll hear Psallentes, a Belgian ensemble specializing in chant, performing selections from this codex. We'll also hear them singing 14th and 15th century chant from Tongeren. PROGRAM #: EMN 20-44 RELEASE: April 19, 2021 Recent Releases We're sampling a couple of exciting recent releases this week! The Mad Lover features sonatas, suites, grounds, and various bizzarie from 17th century England performed by Théotime Langlois de Swarte (violin) and Thomas Dunford (lute). We'll also hear from Ensemble Morgaine, with tracks from their 2021 release Evening Song, which focuses on 16th century hymns, songs, and Psalms from the Polish-Lithuanian Commonwealth. PROGRAM #: EMN 20-45 RELEASE: April 26, 2021 Petrucci and the Odhecaton Ottaviano Petrucci was a printer working in Venice at the turn of the 16th century. He revolutionized the distribution of music and cultivated a taste for the Franco-Flemish style in Italy with the publication of Harmonice Musices Odhecaton in 1501.
    [Show full text]