8Th RESIDENTIAL SUMMER MUSIC ACADEMY
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NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
572178Bk Johnson US 17/8/10 13:15 Page 4
572178bk Johnson US 17/8/10 13:15 Page 4 Nigel North Born in London, Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington since 1999. Initially inspired into music, at the age of seven, by the early 1960s instrumental pop group The Shadows, he studied classical music through the Robert violin and guitar, eventually discovering his real path in life, the lute, when he was fifteen. Basically self taught on the lute, he has since JOHNSON 1976 developed a unique musical life which embraces activities as a teacher, accompanist, soloist, director and writer. His principal music passions apart from teaching are accompanying singers, the solo lute repertoires of Elizabethan England and late German Baroque music of Bach and Weiss. Recordings include a 4 CD box set Bach on the Lute (Linn Records) and 4 CDs of the Lute Music of John Dowland (Naxos The Prince’s 8.557586, 8.557862, 8.570449 and 8.570284). Photograph: Sophie North Almain and other Dances for Lute Nigel North, Lute 8.572178 4 572178bk Johnson US 17/8/10 13:15 Page 2 Robert Johnson (c. 1583–1633) contemporaries such as Ferrabosco, with its tightly same hall in 1611, had an antimasque which contained Lute Music woven counterpoint. Sadly Johnson left us only one. He The Fairies’ Dance and The Satyre’s Dance. The lute was most prolific in the Almain, leaving us ten version of the latter has not survived so the recorded The illustrious dedicatee of The Prince’s Almain is (also known as Lord Hunsdon) who oversaw his examples. -
Fomrhi Comm 1986 C. J. Coakley DOWLAND's LUTE TUNING And
FoMRHI Comm 1986 C. J. Coakley DOWLAND’S LUTE TUNING and other ancient methods, including GERLE’S It is three years since I last wrote here, and recently further thoughts have developed. The initial interest was John Dowland’s temperament - but not for once his ‘melancholy’. This was given in terms of fret positions in his son Robert’s ‘Varietie of Lute Lessons’ of 1610 (Ref 1). The scheme has often been passed over, but without full examination and explanation. I considered a comment for the earlier Ref 2, but did not then have a neat treatment. People continue to be puzzled by the writing - recently Nigel North during his Lute Society talk in November 2010 (Ref 3), soon after recording Dowland’s complete solo lute works. At first I thought a short technical assessment of the usefulness of the tuning would be sufficient. This now forms the next three sections of this long paper, and initially it was to be combined with other work, in a brief four pages. I began to realize that a full treatment might be possible for Dowland’s fretting instructions. (Fretting or worrying is an aspect of melancholy.) During this research an equally important result has been an explanation of how Hans Gerle derived his fretting scheme, and the early significance of the method for setting up tempered tunings. A new study of the ancient uses of geometry and arithmetic has been necessary. This shows that Gerle’s scheme had remarkably ingenious theoretical features, which Dowland later modified in a rather expedient way. It has been possible to explain all the changes and their probable purpose. -
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 . -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Guitar and Lute Music
SOLITARY REFINEMENT Music for Lute, Vihuela and Guitar Welcome to the intimate, colourful and versatile world of music for lute and guitar, instruments with an ancestry tracing back thousands of years and a fascinating repertoire reflecting the physical and social development of the instrument over the past five centuries. The music represented in the following pages traces the instrument’s journey from the refinements of the early sixteenth century to the more cutting-edge characteristics it has inspired from 20th-century composers. Collectors wishing to assemble recordings by composer will find noted representatives of successive historical periods, including the English Renaissance composer John Dowland, German baroque master Silvius Leopold Weiss, the Italian classical style of Mauro Giuliani, 19th-century Spanish greats Fernando Sor and Francisco Tárrega, plus a modern international spread of names including Joaquín Rodrigo and Leo Brouwer. There are also regional collections representative of guitar music not only from the instrument’s native Spain, but also from South American countries closely associated with the development of the instrument’s profile in the 20th century – Brazil, Argentina and Chile, for example – plus gems from Australia and Britain. Alternatively, the instrument’s range of technical and expressive capabilities can be sampled by choosing from an extensive set of solo recitals by an international roster of distinguished performers, not least in our highly successful and ever-expanding Guitar Laureate Series. Complementing the instrument’s image as a solitary instrument are recordings of ensemble works for two and three guitars, for guitar and piano, and Boccherini’s quintets for guitar and string quartet. -
BUCKINGHAMSHIRE POSSE COMITATUS 1798 the Posse Comitatus, P
THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 The Posse Comitatus, p. 632 THE BUCKINGHAMSHIRE POSSE COMITATUS 1798 IAN F. W. BECKETT BUCKINGHAMSHIRE RECORD SOCIETY No. 22 MCMLXXXV Copyright ~,' 1985 by the Buckinghamshire Record Society ISBN 0 801198 18 8 This volume is dedicated to Professor A. C. Chibnall TYPESET BY QUADRASET LIMITED, MIDSOMER NORTON, BATH, AVON PRINTED IN GREAT BRITAIN BY ANTONY ROWE LIMITED, CHIPPENHAM, WILTSHIRE FOR THE BUCKINGHAMSHIRE RECORD SOCIETY CONTENTS Acknowledgments p,'lge vi Abbreviations vi Introduction vii Tables 1 Variations in the Totals for the Buckinghamshire Posse Comitatus xxi 2 Totals for Each Hundred xxi 3-26 List of Occupations or Status xxii 27 Occupational Totals xxvi 28 The 1801 Census xxvii Note on Editorial Method xxviii Glossary xxviii THE POSSE COMITATUS 1 Appendixes 1 Surviving Partial Returns for Other Counties 363 2 A Note on Local Military Records 365 Index of Names 369 Index of Places 435 ACKNOWLEDGMENTS The editor gratefully acknowledges the considerable assistance of Mr Hugh Hanley and his staff at the Buckinghamshire County Record Office in the preparation of this edition of the Posse Comitatus for publication. Mr Hanley was also kind enough to make a number of valuable suggestions on the first draft of the introduction which also benefited from the ideas (albeit on their part unknowingly) of Dr J. Broad of the North East London Polytechnic and Dr D. R. Mills of the Open University whose lectures on Bucks village society at Stowe School in April 1982 proved immensely illuminating. None of the above, of course, bear any responsibility for any errors of interpretation on my part. -
VIOLINIST ANDREW MANZE and the ENGLISH CONCERT ENLIVEN EARLY MUSIC SERIES Chicago Period Violinist Andrew Manze Will Lead the English Concert on Friday, Nov
news release FOR IMMEDIATE RELEASE Contact: Cathy Sweitzer Director of Communications 773 / 834-7965 presents Tickets: 773 / 702-8068 October 3, 2005 VIOLINIST ANDREW MANZE AND THE ENGLISH CONCERT ENLIVEN EARLY MUSIC SERIES chicago Period violinist Andrew Manze will lead The English Concert on Friday, Nov. 11, 2005, as The University of Chicago Presents Early Music Series continues in Mandel Hall. The program will feature everything from a Bach Suite to Biber’sSonata Representativa, serving up the sounds of a cat, a frog, a cuckoo, a hen, a nightingale and a musketeer. the university of Manze will lead the sextet and comment from the stage in what has come to be his signature style -- equal parts scholarship and irrepressible wit. PROGRAM: “Baroque Untamed” Biber Part III Mensa Sonora Pachelbel Suite in F-sharp Minor Jenkins Pavan à 4 Castello Sonata per stromenti d’arco Purcell Fantasia à 4 Biber Two sonatas from Fidicinium sacro-profanum Biber Sonata Representativa Office of Professional Concerts 5720 S. Woodlawn Avenue J.S. Bach Suite in D Major, reconstructed from BWV1068 Chicago, Illinois 60637 773/702-8068 773/834-5888 fax [email protected] chicagopresents.uchicago.edu howard mayer brown early music series chamber music series saint paul chamber orchestra series artists-in-residence series The University of Chicago Presents 2005-2006 Season - Page 2 ABOUT ANDREW MANZE AND THE ENGLISH CONCERT Kent-born violinist Andrew Manze brings knowledge, experience and passion to his role as Director of The English Concert. While studying Classics at Cambridge, friends gave him a baroque violin to play. -
BACH Reimagines BACH Lute Works Bwv 1001, 1006A & 995 | William Carter BACH Reimagines BACH William Carter | Lute
BACH Reimagines BACH lute works bwv 1001, 1006a & 995 | William Carter BACH Reimagines BACH William Carter | lute JOHANN SEBASTIAN BACH (1685–1750) Sonata in G minor, BWV 1001 Suite in G minor, BWV 995 q Adagio ............................................ 3:43 s Prélude ........................................... 6:24 w Fuga ............................................... 5:50 d Allemande ..................................... 5:47 e Siciliana ......................................... 3:15 f Courante ........................................ 2:18 r Presto ............................................. 4:51 g Sarabande ...................................... 2:59 Gavotte I & II ................................ 4:47 Suite in E major, BWV 1006a h j Gigue ............................................. 2:56 t Prélude ........................................... 5:30 y Loure .............................................. 4:01 u Gavotte en Rondeau ...................... 3:47 i Menuett I & II ............................... 4:57 o Bourrée .......................................... 2:18 1) Gigue ............................................. 2:46 Total Running Time: 66 minutes BACH Reimagines BACH William Carter | lute Recorded at St Martin’s Church, East Woodhay, Berkshire, UK 25 – 27 August 2014 Produced and recorded by Philip Hobbs Post-production by Julia Thomas Lute After Frei by Martin Haycock (2003) Rebuilt as a Baroque ‘Swan Neck’ lute by Klaus Jacobsen (2008) Cover image Still Life with Chessboard by Lubin Baugin By permission of Bridgeman Images Design by toucari.live BACH Reimagines BACH ‘There is, of course, nothing definitive about an author’s intention. Most significant works of art can be read in various ways; that openness is, indeed, what helps make them significant.’ DAVID REYNOLDS I think it was the winter of 1988 when I had a couple of lessons on the theorbo with Paul O’Dette. I had been travelling to Manhattan about once a month to play for Pat O’Brien as I got ready to move to London to study with Nigel North. -
For Immediate Release
DISCOGRAPHY TAFELMUSIK MEDIA October 30, 2015 Bach Best of German Baroque: J.S. Bach TMK2028CD Tafelmusik Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director | Ivars Taurins, Director, Tafelmusik Chamber Choir Various Best of French Baroque TMK1029CD Tafelmusik Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director | Ivars Taurins, Director, Tafelmusik Chamber Choir November 18, 2014 Handel Best of Messiah TMK1027CD Highlights of the baroque masterpiece Handel’s Messiah Directed by Ivars Taurins Soloists Karina Gauvin, Robin Blaze, Rufus Müller and Brett Polegato May 27, 2014 Various The Baroque Virtuoso TMK1026CD Limited Edition CD, featuring Jeanne Lamon as Violin Soloist Releases of past recordings on SONY and Analekta labels Proceeds go to support Tafelmusik’s Artist Training activities March 25, 2014 Beethoven Beethoven Symphonies 1-4 & Overtures (2 CD set) TMK1023CD2 Directed by Bruno Weil Includes Overture to Die Geschöpfe des Prometheus and Coriolan November 26, 2013 Various House of Dreams DVD and CD TMK1020DVDCD Narrated by Blair Williams Music by Handel, Vivaldi, Purcell, Marais, Telemann, and Bach 2014 JUNO Award nominee October 30, 2012 Handel Messiah (2 CD set) TMK1016CD2 Directed by Ivars Taurins Soloists Karina Gauvin, Robin Blaze, Rufus Müller and Brett Polegato 2013 JUNO Award nominee Beethoven/ Symphony No. 3 “Eroica” and Symphony No. 4 “Italian” TMK1019CD Mendelssohn Directed by Bruno Weil May 29, 2012 Handel Music for the Royal Fireworks TMK1011CD* 1998 JUNO Award Winner – “Best Classical -
Download Booklet
CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition Blest Cecilia recordings available on Coro Britten Volume 1 COR16006 Iste Confessor "A disc of Samson exceptional quality, The Sacred Music of reinforcing the George Frideric Handel Domenico Scarlatti Sixteen's reputation COR16003 as one of the finest The Sixteen “Outstanding... astonishing choirs of our day." The Symphony of Harmony and Invention stylistic and expressive range” GRAMOPHONE BBC MUSIC MAGAZINE HARRY CHRISTOPHERS The Call of The Beloved The Fairy Queen T HOMAS R ANDLE Victoria Purcell COR16007 2CD set M ARK P ADMORE "If one can ever achieve COR16005 complete emotional "A performance like L YNDA R USSELL expression through the this shows dimensions of power of music, then Purcell's genius that are all L YNNE D AWSON here it is." too rarely heard on disc" HARRY CHRISTOPHERS GRAMOPHONE C ATHERINE W YN -R OGERS Gramophone magazine said of The Sixteen’s recordings “This is what recording should be about...excellent performances and recorded sound...beautiful and moving.” M ICHAEL G EORGE Made in Great Britain J ONATHAN B EST For details of discs contact The Sixteen Productions Ltd. 00 44 1869 331544 or see www.thesixteen.com; e-mail [email protected] N The Sixteen For many years Handel’s G.F. HANDEL (1685-1759) Samson was every British SAMSON choral society’s antidote to SAMSON Messiah. However, over the n 1739 at least two Miltonic projects were urged upon Handel by a circle of wealthy supporters An Oratorio in 3 Acts by past two or three decades it including Jennens, the philosopher James Harris and the 4th Earl of Shaftesbury. -
Der Fliegende Holländer
July 16, 2020 – Wagner’s Der Fliegende Holländer On this week’s Thursday Night Opera House, we’re presenting an encore broadcast of Richard Wagner’s Der Fliegende Holländer (“The Flying Dutchman”), hosted by the late Al Ruocchio (1937-2007). Premiered in 1843 at the Königliches Hoftheater in Dresden (nowadays known as the Semper Opera House), its central theme is redemption through love. Wagner claimed in his 1870 autobiography that he had been inspired to write the opera following a stormy sea crossing he made from Riga to London in 1839. In his 1843 Autobiographic Sketch, Wagner acknowledged he had taken the story from Heinrich Heine's retelling of the Dutchman’s legend in his 1833 satirical novel The Memoirs of Mister von Schnabelewopski. In nineteenth-century Norway, the Dutchman (bass-baritone Norman Bailey), as punishment for having uttered a blasphemy, has been condemned to sail the seas forever, unless redeemed by the love of a woman faithful unto death. Allowed to come ashore once every seven years in search of such a woman, he lands in Norway and meets Daland (bass Martti Talvela), an old sea captain who, seduced by the Dutchman’s wealth, suggests marriage to his daughter Senta (soprano Janis Martin). Senta, loved by the simple huntsman Erik (tenor René Kollo), has long been obsessed with the legend of the Dutchman, and falls in love with him immediately. The Dutchman overhears her begging Erik to understand her feelings, mistakenly thinks her unfaithful and, distraught, immediately sails away. Senta throws herself off a cliff, calling to the Dutchman that she has been faithful to death.