DOCSLIB.ORG

Parthenia Habsburg Program Texts NYEMC 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parthenia Habsburg Program Texts NYEMC 2015 PARTHENIA Rosamund Morley, treble viol Lawrence Lipnik, tenor viol Beverly Au, bass viol Lisa Terry, bass viol with Ryland Angel, tenor Charles Weaver, vihuela and lute A Hapsburg Songbook La dama le demanda Antonio de Cabezón (1510-1566) La mañana de San Juan Diego Pisador (c. 1559- after 1557) Dexó del mundo Francisco Guerrero (1528-1599) Dezilde al caballero Nicolas Gombert (c.1495-c.1560) Diferencias sobre el canto llano del Caballero Cabezón Pater noster Guerrero Corten espadas afiladas Anon. Cancionero de Medinaceli (mid. 16th c.) Mille regretz Josquin des Prés (c.1450-1541) Response: Les miens aussi brief Tielman Susato (c.1510-c.1570) La cancion del Emperador (Mille regretz) Luis de Narváez (1500-1555) [Vidit Jacob scalam Thomas Crecquillon (1505-1557)] Tiento de Batalla Attrib. Sebastian Aguilera de Heredia (1561-1627) Intermission A la Bataglia Heinrich Isaac (1450-1517) Lust hab ich gehabt Ludwig Senfl (c.1486-1543) Der Hund (Ryland solo) Anon. 16th c. Der Hund Isaac O quam gloriosam Jacobus Vaet (c. 1529-1567) De profundis clamavi Senfl Tandernaken Senfl Ach Elslein, liebes Elselein mein Senfl Elslein, liebes Elslein Hans Neusidler (1508-1563) Ich weiss nit, was er ihr verhiess Senfl October 17, 2015, 8pm Church of Saint Luke in the Field NOTES ON THE PROGRAM “The Emperor understood music, felt and Cabezón was brought to court as early as 1526 tasted its charms; the friars often discovered to be Isabella’s personal musician, and lived all him behind the door, as he sat in his own his life as an esteemed employee of the royal apartment near the high altar, beating time and family. singing in part with the performers.” So wrote All of Cabezón’s keyboard works, although the biographer of Charles V (1500–1558), Duke worked out meticulously in four-part of Burgundy, King of Castile and Aragon, King counterpoint, were published in organ of Naples, Count of Hainault and Flanders, tablature, by Henestrosa in 1557 and by his Duke of Guelders, Holy Roman Emperor, and own son Hernando, another valued royal bearer of fifteen more titles, describing the organist, in 1578. It is the rigor of Cabezón’s Emperor’s retirement at the monastery of compositional technique that makes it possible Yuste. But Charles’s musical abilities and tastes to transcribe exactly the four voices of his were not exceptional among members of the tablatures for chamber ensemble. He traveled Habsburg family; for over a century they were widely with King Philip’s retinue to Italy, not just connoisseurs, but often singers and Germany, Luxembourg, the Netherlands, and instrumentalists in their own right. England (where it is likely he met William Sorting out the powers, residences, and Byrd), meeting with Europe’s foremost relationships of the vast and enduring House musicians and entabulating many of their of Habsburg (1273–1916) is a daunting works. enterprise, not the least because their titles are Spain’s answer to the lute of the Italians was so misleading: Margaret of Austria, for the vihuela da mano, and Spanish vihuelist instance, spoke French, ruled the Netherlands, Luis de Narváez reached international fame, and hardly ever set foot in Austria; the having traveled to Italy and northern Europe supreme rulers of Germany from 1273 were and seen his music published in Paris and always called Kings of the Romans; the King of Louvain. Musician to the Emperor’s secretary Bohemia and Hungary had his seat in Vienna; and later music tutor to the children of Philip and it was extremely rare for any Holy Roman II, he published all his known works in one Emperor – an elected post but necessarily held volume in 1538, Los seys libros del delphín. by a Habsburg – to show his face in Rome. Among the variations and fantasias therein is Charles himself was King of Spain for fifteen “The Song of the Emperor,” a fantasia-like years before he actually moved there from his setting of Josquin’s four-voice chanson “Mille home in Brussels. regretz” (to which Tylman Susato wrote his Charles V (with his sister Mary of Hungary) “response” much later). It surely deserved to was brought up and had his education be Charles’s favorite song: the great Josquin provided for by his aunt, Margaret of Austria had appeared before Charles on the occasion of (1480–1530), who made her home in Mechelen, his coronation in 1520 and presented him with halfway between Brussels and Antwerp. She a collection of motets and chansons, “Mille was arguably the most accomplished musician regretz” undoubtedly among them. of the Habsburg family, a singer, a fine The “canto llano del Caballero,” despite its keyboard player, and probably a composer. designation in the title of Cabezón’s variations, She was regent of the Netherlands and is not a “plainsong” at all, but a popular guardian of the future Emperor by virtue of romance, or “story,” with roots in folk tradition. the early death in 1506 of her brother, Philip Essentially a simple melody of only two the Handsome (a glance at his portrait will phrases, it would be repeated many times over disappoint you), and the suppression of his in the singing of a sort of epic ballad in Queen, Joanna the Mad. unrhymed couplets: “By night they murdered The court chapel of Flemish musicians – him, the knight, the glory of Medina, the initially including such lights as de Orto, flower of Olvera.” This tune, like other Gombert, and Crecquillon – that Charles romances, was made good use of by sixteenth- brought with him to Madrid in 1531 was century Spanish composers, among whom preserved and refreshed for generations. In Gombert – as part of the Flemish chapel in supplement, however, a separate Spanish Spain – must be counted. chapel was founded for the use of Queen It was Maximilian, King of the Romans from Isabella (“of Portugal”) and Philip the Infante, 1486 and Holy Roman Emperor from 1493 who would become regent of Spain in 1543 until his death in 1519, who consolidated the and King Philip II upon Charles’s retirement in power of the Habsburgs in most of Europe by 1556. The great blind organist Antonio de marrying Margaret’s mother, Mary of Burgundy in 1477. (It was he also who Maximilian (1512–1519), singing and playing instituted the policy of intermarriage among their lutes, viols, flutes, trumpets, drums, the Habsburgs in order not to dilute their organs, shawms, and krummhorns. political power – a practice that would prove Hans Neusidler was a Nuremburg lutenist and their demise.) Maximilian had engaged lute maker who published eight books of Heinrich Isaac in 1492, naming him court entabulated lute music between 1536 and 1549. composer five years later; Ludwig Senfl They are eclectic compendia of French arrived in Vienna as a choirboy in 1496, and chansons, Italian madrigals, German Lieder, succeeded Isaac as Hofkomponist. Senfl can be motets, French and Italian dances, and free- spotted among the musicians of the court in form improvisatory preludes. Hans Burgkmair’s celebrated series of ~ Lucy E. Cross woodcuts The Triumphal Procession of TEXTS AND TRANSLATIONS La mañana de Sant Juan On the morning of St. John's Day, al tiempo que alboreaba, just as dawn were breaking, gran fiesta hacen los moros, the Moors celebrate a great feast por la vega de Granada. on the plains of Granada. Revolviendo sus caballos, Turning their horses jugando van de las lanzas, and jousting with lances, ricos pendones en ellas, carrying rich pennants, labrados por sus amadas, embroidered by their lovers, ricas aljubas vestidas, wearing rich garments de oro y seda labradas. worked from gold and silk. El moro que amores tiene, The moors who were in love allí bien se señalaba, showed it clearly, y el moro que no los tiene, and the Moor who was not, de tenerlos procuraba, tried to be in love, mirando las damas moras looking at the Moorish ladies. desde las torres de Alhambra, From the towers of the Alhambra, entre las cuales había amongst which were dos de amor muy lastimadas. two very wounded by love. La una se llama Jarifa, One is called Jarifa, la otra Fátima se llama. the other Fátima by name. Solían ser muy amigas, They used to be great friends, aunque ahora no se hablan. though now they do not speak. Jarifa llena de celos Jarifa, full of jealousy, a Fátima le hablaba: said to Fátima: Ay, Fátima, hermana mía, Oh, Fátima, my sister, como estás de amor tocada; how you are touched by love; solías tener colores, you used to be full of colour, veo que ahora te faltan; I see that they have left you now, solías tratar amores, your life was once all love, ahora obras y callas. now it is work and silence. Dezilde al cavallero Tell the gentleman que non se quexe, Not to complain, que yo le doy mi fe For I give him my faith que non le dexe. I will not leave him. Dezilde al cavallero, Tell the gentleman cuerpo garrido, Of handsome body que non se quexe Not to complain en ascondido, In secrecy, que yo le doy mi fe For I give him my faith que non le dexe. I will not leave him. Pater noster, qui es in coelis, Our Father, which art in heaven, sanctificetur nomen tuum, hallowed be thy name, adveniat regnum tuum, thy kingdom come, fiat voluntas tua, sicut in coelo et in terra. thy will be done, Panem nostrum quotidianum da nobis hodie, in earth as it is in heaven. Et dimitte nobis debita nostra, Give us this day our daily bread, sicut et nos dimittimus debitoribus nostris.
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]
  • Instrumental Music in the Urban Centres of Renaissance Germany Author(S): Keith Polk Reviewed Work(S): Source: Early Music History, Vol
    Instrumental Music in the Urban Centres of Renaissance Germany Author(s): Keith Polk Reviewed work(s): Source: Early Music History, Vol. 7 (1987), pp. 159-186 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/853891 . Accessed: 02/11/2011 18:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music History. http://www.jstor.org KEITH POLK INSTRUMENTAL MUSIC IN THE URBAN CENTRES OF RENAISSANCE GERMANY* Modern scholarship about Renaissance instrumental music has suffered from a scarcity of musical sources. Consequently current research efforts often seem to operate in the manner of archaeologi- cal excavations; at times it is only as one layer is painstakingly uncovered that the configurations of another are revealed. This was certainly the experience of this contribution, which began as an investigation into late fifteenth-century Italian instrumental prac- tices. The early phases of the Italian study involved sifting through many archival documents, and one initial miscellaneous impression was that German players frequently appeared in Italian ensembles. Pursuit of this almost casual observation led first to an awareness that German presence in Italy was substantial, then, further, to the fact that the oltramontanidominated aspects of instrumental music.
    [Show full text]
  • Illinois Wind Orchestra Barry L. Houser, Conductor Long-Tao Tang, Graduate Associate Conductor Oak Prairie Junior High School B
    Illinois Wind Orchestra Barry L. Houser, conductor Long-Tao Tang, graduate associate conductor Oak Prairie Junior High School Band Bill Rank, conductor Foellinger Great Hall Krannert Center for the Performing Arts Tuesday, October 28, 2014 7:30 PM TIELMAN SUSATO The Battle Pavane (1551/1984) (1500-1561) arr. Bob Margolis WILLIAM OWENS The Blue Orchid (A Tango for Band) (2005) (b.1963) TRADITIONAL All the Pretty Little Horses (1998) arr. Anne McGinty ROBERT W. SMITH The Great Locomotive Chase (2000) (b.1958) KARL L. KING Allied Honor March (1955) (1891-1971) arr. James Swearingen INTERMISSION PERCY GRAINGER The Duke of Marlborough Fanfare (1939/2000) (1882-1961) arr. Donald Hunsberger Long-Tao Tang, conductor (continued) The University of Illinois Bands Staff Linda R. Moorhouse, interim director of bands FRANK TICHELI Sanctuary (2006) Barry L. Houser, director of athletic bands | assistant director of bands (b.1958) J. Ashley Jarrell, assistant director of bands Barry L. Houser, conductor Lana Custer, financial associate Terri Daniels, business administrative associate Elaine Li, bands performance collection librarian ALFRED REED El Camino Real (1986) Brian Coffill, graduate assistant (1921-2005) Morganne Garcia, graduate assistant Philip Meyer, graduate assistant GIACOMO PUCCINI Scossa Elettrica (1896/2001) Trent Shuey, graduate assistant (1858-1924) Long-Tao Tang, graduate assistant arr. Charles D. Yates Brad Wallace, graduate assistant SERGEI PROKOFIEV March, Op. 99 (1946) University of Illinois Bands Selected Events (1891-1953) October
    [Show full text]
  • A Musical Correspondence from the Time of Philip II
    Ignace Bossuyt 0 socii durate A musical correspondence from the time of Philip II ANTOINE Perrenot de Granvelle (1517-86) was painted by, among others, Titian, Antonio Moro one of the most fascinating personalities to have and Leone Leoni. patronized the arts in the second half of the 16th cen- Music, too, meant much to him, as is apparent tury. He played a crucial role both as a prince of the from his contacts with the most prominent com- church and as a politician in the Netherlands under posers of his time. His extensive correspondence the Spanish domination. After studying at the uni- contains a wealth of hitherto unknown musical versities of Leuven (Louvain) and Padua, he became data. A systematic examination of his letters, some Bishop of Arras in 1538, aged 21 years. In 1550 he suc- of which are preserved in the Palacio Real and the ceeded his father, Nicolas Perrenot, as prime minis- Biblioteca Nacional in Madrid,' has yielded particu- ter to Charles V, King of Spain and Holy Roman larly interesting information on his relationship Emperor, and retained this post after Charles's son with two composers of international stature: Adrian Philip II became ruler of the Netherlands in 1555. Willaert (c.1490-1562), who was maestro di cappella Following Philip's return to Spain in 1559 Antoine of St Mark's in Venice between 1527 and 1562, and became first counsellor to Margaret of Parma. Op- Orlande de Lassus (1530/32-1594), a tenor at the position to him increased steadily from 1561, espe- Bavarian court in Munich from September 1556 and cially after his elevation to cardinal and archbishop Kapellmeister there from 1563 until his death in of Malines (Mechelen).
    [Show full text]
  • Dido Sings Farewell
    Miss Me But Let Me Go: Dido Sings Farewell The death speech of Dido in Aeneid IV is one of the most intensely personal and poignant speeches in all of Roman epic. Readers may argue over the tone and implication of her words, whether they suggest bitterness and resentment for her lost love and unrealized inheritance. Yet composers have generally taken her words at face value, content to wrap her adieu with suitably chastened and even brittle music. The Renaissance saw an unusual number composers drawn to Dulces Exuviae, setting most, if not all, of her words; these musicians include, in chronological order: Josquin Des Prez (c.1440 – 1521), Jean Mouton (c.1475 – 1522), Adrian Willaert (c.1490 – 1562), Jacques Arcadelt (c.1505 – c.1560), Alonso Mudarra (c.1510 – 1580), Cipriano da Rore (c.1515 – 1565), Jacobus Vaet (c.1529 - 1567), Orlandus Lassus (1532 – 1594), and Jakob Handl (1550 – 1591). All but two of these men were Franco-Flemish, and most spent some time in northern Italy; there they may have first met the Vergilian text through the music of Josquin, who spent much of his professional life in Milan and Rome. However, with the birth of opera, Dido was heard more on stage than within an intimate circle of madrigalists; consider the operas La Didone (1641) by Francesco Cavalli and Dido and Aeneas (1689) by Henry Purcell; here Vergil’s own words were abandoned for lengthier libretti by Giovanni Francesco Busenello and Nahum Tate respectively. And these latter day poets were willing to adapt and even alter Vergil to suit their own dramatic purpose: so Tate had Dido plead “Remember me, but forget my fate.” Such a verbal conceit may seem far-fetched to experienced readers of the Aeneid, but it does allow the composer to craft exceedingly poignant music.
    [Show full text]
  • Musique, Pouvoir Et Légitimation Aux Xve Et Xvie Siècles David Fiala, Philippe Vendrix
    Musique, pouvoir et légitimation aux XVe et XVIe siècles David Fiala, Philippe Vendrix To cite this version: David Fiala, Philippe Vendrix. Musique, pouvoir et légitimation aux XVe et XVIe siècles. Jean- Philippe Genet. La légitimité implicite, Vol. 1, Publications de la Sorbonne - École française de Rome, pp.375-422, 2015, Collection de l’École française de Rome, 485/1 ; Le pouvoir symbolique en Occident (1300-1640) - Histoire ancienne et médiévale, 135/1, 978-2-7283-1165-1 ; 978-2-85944-768-7. 10.1400/236262. halshs-01257804 HAL Id: halshs-01257804 https://halshs.archives-ouvertes.fr/halshs-01257804 Submitted on 16 Mar 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musique, pouvoir et légitimation aux xve et xvie siècles David Fiala et Philippe Vendrix Université François-Rabelais de Tours, Centre d’études supérieures de la Renaissance – CNRS UMR 7323 Les relations de la musique au pouvoir, quel qu’il soit, ont fait l’objet d’un nombre considérable d’études. Elles révèlent des comportements divers à l’égard d’une pratique artistique dont le rôle est jugé essentiel tant pour les manifestations de la foi que pour une organisation de l’État : car chants et sonneries appartiennent au quotidien des sociétés occidentales.
    [Show full text]
  • Renaissance Declarative Knowledge
    Renaissance Declarative Knowledge Renaissance Sacred Music I. Renaissance Style 1. Golden age of a cappella style 1. imitative polyphony 2. harmony: fuller chords, 3rds and 6ths 3. carefully controlled dissonance 4. duple meter 2. Early Renaissance (1450–1520) 1. Belgium, northern France: Du Fay, Josquin 3. Later Renaissance (1520–1600) 1. Italy: Palestrina, Gabrieli II. The Early Renaissance Mass 1. Ordinary, fixed portion, set to music 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus Dei 2. Cantus firmus (fixed melody) 1. entire mass based on one melody 2. Gregorian chant or popular song III. Du Fay and the Cantus Firmus Mass 1. Guillaume Du Fay (c. 1397–1474) 1. Franco-Flemish composer 2. career in Italy and France 3. well-defined melodies; clear-cut rhythms 2. Listening Guide 8: Du Fay, L’homme armé Mass (The Armed Man Mass), Kyrie (1460s) 1. four-part, a cappella chorus 2. cantus firmus: L’homme armé, popular tune 3. polyphonic, but not imitative 4. three sections: slow triple meter, duple, triple meter 5. harmony: medieval, and fuller 3rds and 6ths of Renaissance IV. The Motet in the Renaissance 1. Motet: became sacred form 1. single Latin text 2. used in the Mass 3. praise of the Virgin Mary http://ibscrewed4music.blogspot.com/ 4. three, four, or more voices of equal importance 5. cantus firmus: chant or popular song V. Josquin des Prez and the Motet 1. Josquin des Prez (c. 1450–1521) 1. northern French composer 2. Italian court positions; papal choir in Rome 3. humanism: expressive harmony, serene melodies 4.
    [Show full text]
  • American Choral Review
    AMERICAN CHORAL REVIEW JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XXIX • NUMBER 1 • WINTER 1987 AMERICAN CHORAL REVIEW ALFRED MANN, Editor ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD jACKSON MARTIN PICKER WESLEY S. COFFMAN The AMERICAN CHORAL REVIEW is published quarterly as the official journal of The American Choral Foundation, Inc. The Foundation also publishes a supplementary Research Memorandum Series. Membership in The American Choral Foundation is available for an annual contribution of $27.50 and includes subscriplions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's advisory services. All contributions are tax deductible. Multiple back issues of the AMERICAN CHORAL REVIEW and Research Memorandum Series are housed and maintained at the Temple University Boyer College of Music, Philadelphia, Department of Choral Activities, Alan Harler, Chairman. A computerized, annotated listing of the contents of back issues by author, title, subject, and period has been assembled as a joint project of Temple University and the American Choral Foundation. Back issues of the AMERICAN CHORAL REVIEW are available to members at $5.00; back issues of the Research Memorandum Series at $2.00. Bulk prices will be quoted on request. Through afiiliation with the American Choral Directors Association the Foundation offers membership to American Choral Directors Association members at a reduced contribution amount. Please consult the boxed announcement on the inside back cover for details. THE AMERICAN CHORAL FOUNDATION, INC. Administered by the Association of Professional Vocal Ensembles Janice F. Kestler, Executive Director 251 South 18th Street Philadelphia, Pennsylvania 19103 (215) 545-4444 Material for publication should be submitted in duplicate.
    [Show full text]
  • MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W.
    [Show full text]
  • The French Connection
    French Music from the Renaissance and Baroque Le berger et la bergère Jean Mouton (ca. 1459-1522) S’il est a ma poste Nicolle des Celliers d’Hesdin (? – 1538) Demandes-tu, douce ennemie Nicola de la Grotte (1530 – ca. 1600) Chose commune Anon (text by Francis I) Pour ung plaisir Thomas Crequillon. (ca. 1500 - 1557) Si des haulx cieulx Milles regretz Josquin des Pres (ca. 1450 – 1521) La la la, je ne l’ose dire Pierre Certon (ca. 1520 – 1572) Ce moys de mai Clement Janequin (ca. 1485 – 1558) A ce joli mois Revecy venir dü Printans Claude le Jeune (ca. 1528 - 1600) Susanne un jour Didier Lupi the Second. (mid-16th century) Susanne un jour Alfonso Ferrabosco, Sr. (ca. 1578-1628) Five French dances Michael Praetorius (1571 – 1621) Spagnoletta Bourées I and II Volta Branle Fantasie No. 2 Etienne Moulinié (1599 – 1676) Tombeau “Les Regrets” Sieur de St. Colombe (1640-1700) Quator Michel-Richard de Lalande (1657 – 1726) Three movements from the Suite in A minor Marc-Antoine Charpentier (1643 – 1704) Gigue angloise Gigue francoise Passacaille March for the Entry of Turks Jean-Baptiste Lully (1632- 1687) Program Notes The music of 16th century France was influenced by the religious/political, social and technological world in which it was created. Our program of 16th and 17th century French song (chansons) and dances is a case in point. The invention ofthe printing press in the late 15th century had a dramatic effect on the accessibility of music. Publishers such as Pierre Attaingnant in Paris, Tielman Susato and Christopher Plantin in Antwerp, Ottaviano Petrucci in Venice, Jacques Moderne in Lyons and Pierre Phalese in Louvain turned out many collections ofchansons, motets, masses, psalms and dances.
    [Show full text]
  • Liederbuch Dancing Through the Songbooks of Renaissance Germany
    Early Music Hawaii presents Liederbuch Dancing Through the Songbooks of Renaissance Germany Ciaramella Adam Gilbert, shawm, recorder, bagpipe, dulcian Rotem Gilbert, shawm, recorder, bagpipe Malachai Komanoff Bandy, shawm, viol, hurdy-gurdy, bagpipe Aki Nishiguchi, shawm, recorder, cornamuse Jason Yoshida, vihuela, guitar, percussion Saturday, March 10, 2018, 7:30 pm Lutheran Church of Honolulu Sunday, March 11, 2018, 2:00 pm Lutheran Church of the Holy Trinity, Kailua-Kona This concert is supported in part with funds provided by the Western States Arts Foundation (WESTAF), the Hawaii State Foundation on Culture and the Arts and the Program Branles double Michael Praetorius (1571-1621) Gavottes Praetorius Maria salve virginum Conradus Rupsch der Singer (c.1475-1530) Hymnizemus regi altissimo Rupsch? Annavasanna Conrad Paumann (c.1410-1473) Mater sancta dulcis Anna Anon. German (c.1500) Mit ganczem willen Paumann Mein traut geselle Anon. German (c.1500) Zart Lieb Anon. German (c.1500) Ach Elslein, liebes Elslein mein Ludwig Senfl (1486-1542) In Gottes Namen fahren wir Paul Hofhaimer (1459-1537) In Gottes Namen fahren wir Heinrich Finck (1445-1527) Nigra sum sed formosa Finck Ach liebe Herr Adam Gilbert, over 15th c. Melody Ach reine zart Anonymous In feurs hitz Anonymous Le petit Rouen Gilbert, over 15th c. Tenor Intermission Dance suite from Danserye Tielman Susato (c.1510-after 1570) Ronde IV, Ronde VI/Salterelle, Ronde IX Preambel Hans Neusidler (c.1508-1563) Variations over “Wil nieman singen” Melody after Ludwig Senfl (1486-1542) Variations over “Mein junges Leben hat ein Ende” Gilbert Variations over Praetorius’ Pavane d’Espagne Gilbert Canarios Gaspar Sanz (1640-1710) Volte Praetorius 2 Ciaramella Praised for performing 15th century counterpoint “with the ease of jazz musicians improvising on a theme,” Ciaramella brings to life medieval and early renaissance music from historical events and manuscripts.
    [Show full text]
  • Loft Concert Program
    The Renaissance Street Singers 42nd-Anniversary Loft Concert Montague Street, Brooklyn Heights, July 13, 2014 Jeanie Wing 3 pm Sundays February 22 and March 1, 2015 John Hetland's Home 135 West 17th Street, Loft 3B New York, NY 10011 - 2 - Polyphonic Sacred Music In polyphony (meaning “many sounds”), the dominant form of religious music in Europe during the Renaissance, each voice (soprano, alto, etc.) sings an interesting melodic line, with rhythmic complexity, and the voices intertwine, often imitating one another, to make a complex weaving of sound. The composers of sacred music, writing with serious intent, put their best efforts into the music. The result is beautiful music that transcends the religious tradition from which it springs. The Renaissance Street Singers The Renaissance Street Singers, founded in 1973 by John Hetland, perform polyphonic 15th- and 16th-century sacred music a cappella on the sidewalks and in the public spaces of New York. The motivation is a love for this music and the wish to share it with others. Concerts are on Sunday afternoons about twice a month, always free. Loft Concert We are pleased to perform here in the Loft once a year for your en- joyment. The music is our usual repertoire, mostly unrelated compo- sitions that we like. This year's concert contains works by thirteen composers from seven different countries, featuring the mass “La sol fa re mi” by Josquin des Prez. Plus good food and then singing by you. Missa “La sol fa re mi” The story is told of some magnate who answered Josquin’s requests with “Laisse faire moy” or “Lesse faire a mi” (Let me take care of it) but didn’t take care of it, leading Josquin to reply by composing a mass on the solmization theme la, sol, fa, re, mi.
    [Show full text]