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December 9–11, 2016
December 9–11, 2016 2016-2017 Season Sponsor Jeanne Lamon Hall, Trinity-St. Paul’s Centre, 427 Bloor St. West With sincere appreciation and gratitude salutes Al and Jane Forest for their leadership and generous support of this production Be a part of our next CD Recording! The Consort will be heading into the studio to record The Italian Queen of France For your generous support, you will receive the following benefits: Amount You will receive $10 – $124 advance access to purchase the new CD when it is released in the Fall of 2017 $125 – $499 a copy of the new CD $500 or more two copies of the new CD All project donors will receive a tax receipt and will be listed in the house programs for our 2017-18 season Join us in the gymnasium to offer your support today! Magi videntes stellam Chant for the Feast of the Epiphany Nova stella apparita Florence Laudario, ca 1325 Salutiam divotamente Cortona Laudario, ca 1260 Ave regina caelorum Walter Frye (d. 1474) Gabriel fram hevene-King England, late mid-14th century Estampie Gabriel fram hevene-King arr. Toronto Consort Veni veni Emanuel France, ca 1300 O frondens virga Hildegard von Bingen (1098-1179) Nicolaus pontifex Paris, ca 1250 Nicolai sollempnia Das Glogauer Liederbuch, ca 1480 Wynter Tours, 14th century Deh tristo mi topinello northern Italy, ca 1400 Farwel Advent Selden MS, England, ca 1450 INTERMISSION Please join us for refreshments and the CD Boutique in the Gymnasium. Hodie aperuit nobis Hildegard von Bingen Nowel! Owt of your slepe aryse and wake Selden MS In dulci jubilo Liederbuch -
For OCKEGHEM
ss CORO hilliard live CORO hilliard live 2 Producer: Antony Pitts Recording: Susan Thomas Editors: Susan Thomas and Marvin Ware Post-production: Chris Ekers and Dave Hunt New re-mastering: Raphael Mouterde (Floating Earth) Translations of Busnois, Compère and Lupi by Selene Mills Cover image: from an intitial to The Nun's Priest's Tale (reversed) by Eric Gill, with thanks to the Goldmark Gallery, Uppingham: www.goldmarkart.com Design: Andrew Giles The Hilliard Ensemble David James countertenor Recorded by BBC Radio 3 in St Jude-on-the-Hill, Rogers Covey-Crump tenor Hampstead Garden Suburb and first broadcast on John Potter tenor 5 February 1997, the eve of the 500th anniversary Gordon Jones baritone of the death of Johannes Ockeghem. Previously released as Hilliard Live HL 1002 Bob Peck reader For Also available on coro: hilliard live 1 PÉROTIN and the ARS ANTIQUA cor16046 OCKEGHEM 2007 The Sixteen Productions Ltd © 2007 The Sixteen Productions Ltd N the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16048 The hilliard live series of recordings came about for various reasons. 1 Kyrie and Gloria (Missa Mi mi) Ockeghem 7:10 At the time self-published recordings were a fairly new and increasingly 2 Cruel death.... Crétin 2:34 common phenomenon in popular music and we were keen to see if 3 In hydraulis Busnois 7:50 we could make the process work for us in the context of a series of public concerts. Perhaps the most important motive for this experiment 4 After this sweet harmony... -
Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Study of the Burgundian chanson as a source of material for the high school vocal ensemble Franklin Paul Halpin The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /Y/ A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE by P. EAUU HAEPIN B. A, Idaho State University, 1953 ■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968 Approved by: September 13, 1 9 ^ 8 Date UMI Number: EP35336 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. -
Notes on Heinrich Isaac's Virgo Prudentissima Author(S): Alejandro Enrique Planchart Source: the Journal of Musicology, Vol
Notes on Heinrich Isaac's Virgo prudentissima Author(s): Alejandro Enrique Planchart Source: The Journal of Musicology, Vol. 28, No. 1 (Winter 2011), pp. 81-117 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2011.28.1.81 Accessed: 26-06-2017 18:47 UTC 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology This content downloaded from 128.135.12.127 on Mon, 26 Jun 2017 18:47:45 UTC All use subject to http://about.jstor.org/terms Notes on Heinrich Isaac’s Virgo prudentissima ALEJandro ENRIQUE PLANCHART Thomas Binkley in memoriam In 1520 Sigmund Grimm and Marx Wirsung published their Liber selectarum cantionum quas vulgo mutetas appellant, a choirbook that combined double impression printing in the manner of Petrucci with decorative woodcuts. As noted in the dedicatory letter by the printers and the epilogue by the humanist Conrad Peutinger, the music was selected and edited by Ludwig Senfl, who had succeeded his teacher, Heinrich Isaac, as head of Emperor Maximilian’s chapel 81 until the emperor’s death in 1519. -
ALSO AVAILABLE on Signumclassics
174Booklet 7/8/09 13:06 Page 1 ALSO AVAILABLE on signumclassics Guillaume de Machaut: Motets, Mass music Brussels 5557: Masses by Frye Guillaume Dufay: Sacred music from & songs by Machaut from the Ivrea Codex and Plummer Bologna Q15 The Clerks The Clerks The Clerks SIGCD011 SIGCD015 SIGCD023 “Each singer has a naturally light, straight- “I am always impressed with the way they “It is an absorbing and revealing collection, toned voice and can effortlessly flat over the balance precision and polished vocal blend and everything is delivered with tonal beauty vocal lines like ‘a feather on the breath in the most difficult music … unlike other and scholarly stylishness” of God’” groups singing this music, the Clerks’ Group Early Music The Gramophone don’t seem to break a sweat.” Goldberg Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 174Booklet 7/8/09 13:06 Page 3 Don’t Talk - Just Listen! p Don’t run low [0.20] a Be an egg donor [0.23] s Please to not betray [0.46] d Five Motets Robert Saxton Royal from Day One [0.17] f 1 Motet 1: Dixit autem Dominus ad Abram [3.27] I am woman [0.35] g 2 Motet 2: Distant, a family travels [2.52] Vocal ensemble for hire [0.33] h 3 Motet 3: Down the ages a song has echoed [2.34] Proactive, professional [0.32] j 4 Motet 4: Returning, wander weary [2.25] Mature composer seeks work [0.27] k 5 Motet 5: Igitur egressus Iacob [4.27] Guarantee [0.36] 6 Thou wast present as on this day Antony Pitts [6.44] Three Contrafacta l The Man who spills his soup -
Claude Longchamp
3è Atelier de musique ancienne (Gruyères, 21-28.08.2005) Duo Crawford Young (USA) Margit Uebellacker (Autriche) 25.08.2005 Le duo de ce soir associe les cordes pincées (avec une plume d'autruche) du luth et de la guiterne, et les cordes frappées du "dulce melos" (forme de hackbrett de poche médiéval), un instrument décrit dans le Traité de Paulus Paulirinus (1460) comme "le plus beau parmi tous les instruments de musique". Les deux instruments sont bien adaptés à l'accompagnement de la danse, rôle central de la musique de cour médiévale, et le programme de ce soir contient plusieurs "Balleti", "Pizochara", "Petits Riens" à danser. Crawford Young et Margit Uebellacker nous emmènent en première partie de soirée à la Cour des Visconti (Pavie, 1400), puis à la Cour de Charles le Téméraire à Dijon (où brille Guillaume Dufay) et un peu plus tard à la Cour de Nuremberg. Outre les danses virtuoses, ils interprètent les mises en tablature savantes de chansons et motet célèbres de ce temps, de Francesco Landini, de Johannes Ciconia ou de Walter Frye. Notes sur le programme Association Guitare & Luth – CP 2254 – 1630 Bulle 2 CCP 17-6617-8 Compte BCF no 25 01 176.463-07 www.anselmus.ch/fr/association.htm Program notes : whose works turn up in a manuscript auctioned at Sotheby’s in 1996 and currently owned by the Oesterreichische Nationalbibliothek in Tonight’s program of fifteeenth-century arrangements for gittern/ lute Wien. Blindhammer may be considered something of a “missing link” solos and, with dulce melos, duos, consists of three focal points of leading to the Gerle / Neusidler generation of prominent Nürnberg musical culture, the Visconti court (Pavia/ Milan ca. -
Reception of Josquin's Missa Pange
THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic -
Caput: Ockeghem & the English
Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH 8 PM • FRIDAY, FEBRUARY 17, 2017 — First Parish of Lexington 8 PM • SATURDAY, FEBRUARY 18, 2017 — First Church in Cambridge, Congregational Ockeghem@600 | Concert 5 CAPUT: OCKEGHEM & THE ENGLISH OCKEGHEM & THE ENGLISH Johannes Ockeghem (c. 1420-1497) cantus In this fifth program of our multi-season survey particular the way in which it handles the Missa Caput Martin Near of the complete works of Johannes Ockeghem, two lower lines of its four-voice contrapuntal Laura Pudwell Kyrie • lp ms st dm / mn om jm pg we present one of his earliest surviving texture (labelled Tenor primus and secundus), Gloria • lp om jm pg works, the Missa Caput. Those who have influenced a generation of French and Flemish tenor & contratenor attended previous concerts in the series will composers. Ockeghem adopts the new manner John Pyamour (d. before March 1426) Owen McIntosh Quam pulcra es • om jm dm Jason McStoots perhaps share the impression we are forming of writing in four parts, but then ups the Mark Sprinkle of Ockeghem’s compositional character— technical ante considerably by the daring and Walter Frye (d. before June 1475) Sumner Thompson curious, experimental, boldly asserting novel use to which he puts the cantus firmus. • Alas alas alas is my chief song mn st pg his superior craft vis-à-vis his models by Ave regina celorum • lp ms dm bassus surpassing their technical achievements, and The cantus firmus melody quotes a long Ockeghem Paul Guttry stretching the theoretical systems of his time in melisma on the word “caput” from an antiphon Missa Caput David McFerrin ways that challenge our ability to find a definite sung during the foot-washing ceremony on Credo • mn jm st dm solution (and surely posed similar challenges Maundy Thursday in the Sarum rite. -
CROSSING the CHANNEL with Guest Artistic Director, Scott Metcalfe
2019-2020: The Fellowship of Early Music CROSSING the CHANNEL With Guest Artistic Director, Scott Metcalfe MARCH 6 & 7, 2020 2019-2020 Jeanne Lamon Hall, Trinity-St.Paul’s Centre Season Sponsor 2020-2021 A Wellspring of Early Music Subscriptions are now on sale. | Learn more at TorontoConsort.org PROGRAM La contenance angloise: Musical connections across the Channel, c. 1415-1515 I. Echoes across the Channel Deo gracias Anglia anonymous Je suy si povre de liesce (instrumental) ? Guillaume Du Fay (1397-1474) Adieu ma tresbelle maistresse anonymous / text ? by Charles d’Orléans (1394-1465) Speciosa facta es John Dunstaple (c. 1390-1453) Craindre vous vueil, doulce damme de pris Du Fay II. Englishmen at home Anonymous songs from Oxford, Bodleian Library, MS Ashmole 191 (copied 1445) O kendly creature Go hert hurt with adversite Thus y complayn my grevous hevynessse III. Englishmen abroad Songs from the Leuven Chansonnier (? Loire Valley, c. 1470) & elsewhere Ave regina celorum Walter Frye (d. before 1475) Plus j’ay le monde regardé Robert Morton (c. 1430-after 1479) Le souvenir de vous me tue Robert Morton (c. 1430-after 1479) Textless ballade (instrumental) anonymous Quand je fus prins au pavillon anonymous / text by Charles d’Orléans IV. Music at the court of Henry VIII Music from Henry VIII’s Manuscript, c. 1518 Adew mes amours et mon desyre William Cornysh (d. 1523) Benedictus (instrumental) Heinrich Isaac (c. 1450-1517) Allez regrets, vuidez de ma presence Hayne van Ghizeghem (b. c. 1445; d. 1476-97) Ales regrets (instrumental) Alexander -
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, Vol
Mid-Fifteenth-Century English Mass Cycles in Continental Sources, vol. 1 James Matthew Cook Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2014 Abstract Fifteenth-century English music had a profound impact on mainland Europe, with several important innovations (e.g. the cyclic cantus firmus Mass) credited as English in origin. However, the turbulent history of the Church in England has left few English sources for this deeply influential repertory. The developing narrative surrounding apparently English technical innovations has therefore often focussed on the recognition of English works in continental manuscripts, with these efforts most recently crystallised in Curtis and Wathey’s ‘Fifteenth-Century English Liturgical Music: A List of the Surviving Repertory’. The focus of discussion until now has generally been on a dichotomy between English and continental origin. However, as more details emerge of the opportunities for cultural cross-fertilisation, it becomes increasingly clear that this may be a false dichotomy. This thesis re-evaluates the complex issues of provenance and diffusion affecting the mid-fifteenth-century cyclic Mass. By breaking down the polarization between English and continental origins, it offers a new understanding of the provenance and subsequent use of many Mass cycles. Contact between England and the continent was frequent, multifarious and quite possibly reciprocal and, despite strong national trends, there exists a body of work that can best be understood in relation to international cultural exchange. This thesis helps to clarify the i provenance of a number of Mass cycles, but also suggests that, for Masses such as the anonymous Thomas cesus and Du cuer je souspier, Le Rouge’s So ys emprentid, and even perhaps Bedyngham’s Sine nomine, cultural exchange is key to our understanding. -
Music at the Aragonese Court of Naples
MUSIC AT THE ARAGONESE COURT OF NAPLES Allan W. Atlas The nght ·~f the Umrt'f.l'ill' of Cambrulgc 111 fir/Ill and 1cll ullmann('f ojh1mf....1 U'U\' grun/!•d hy l/,•,Jfl' Vltl in 1534. Tlw Unil't'f.\"11)' hw (lrinl<'rl und p11hlish"rl I'OIIIIIwou•J.r Wll'<' f58.f. Cambridge University Press Cambridge London New York New Rochelle Melbourne Sydney museo inter!1ozionale e b ibliote.:a ddl.2 mus ica di bolc g na 82 Music at the Aragonese Court of Naples Composers and Other 'Illustrissimi' 83 works only two can be safely assigned to Naples, the hymns Hostis Herodis impie sing and play the lute. Although his studies with Guarnerius could not have lasted and Christe Redemptor omnium, Ex Patre Patris, both of which are unique to the very long -the Flemish musician was back at the papal chapel by the Spring of Neapolitan manuscript Montecassino 8 71 and are the only hymn settings by 1479 at the latest (see note 125)-Calmeta tells us that he made such remarkable Gaffurius that use chants of the Roman, rather than of the Ambrosian, rite. 123 progress that 'a ciascuno altro musico italiano nel componere canti tolse la In the edition, Gaffurius is represented by Christe Redemptor omnium (No. 7). palma'. Serafino remained at Naples until 1481, when, upon the death of his father, he returned to Aquila. A second encounter with Neapolitan culture began Guillelmus Guarnerius. One of the more shadowy figures of the late fifteenth in 1487, when Serafino accompanied his patron, Ascanio Sforza, to Milan. -
Guillaume De Machaut (1300?-1377)
1/22 Data Guillaume de Machaut (1300?-1377) Pays : France Langue : Français ancien (842-ca.1400) Sexe : Masculin Naissance : 1300 Mort : Reims (Marne), 04-1377 Note : Musicien et poète né entre 1282 et 1300 Domaines : Musique Littératures Autres formes du nom : Guillaume de Machault (1300?-1377) Guillaume de Machault (1300?-1377) Guillaume de Machaut (1300?-1377) Guillelmus de Machaudio (1300?-1377) (latin) ISNI : ISNI 0000 0001 0854 5599 (Informations sur l'ISNI) Guillaume de Machaut (1300?-1377) : œuvres (430 ressources dans data.bnf.fr) Œuvres musicales (307) "Five songs of love" Felix Virgo mater Christi (2008) (1359) de Philippe Mazé avec Guillaume de Machaut (1300?-1377) comme Auteur du texte Christe Qui lux es et dies Le remède de fortune (1359) (1341) Bone pastor Guillerme De toutes flours n'avoit et de tous fruis (1324) Lasse comment oublieray Moult sui de bonne heure nee Nes que on porroit les estoilles nombrer Quant Theseüs Hercules et Jason Quant je sui mis au retour Loyauté que point ne delay Tant doucement me sens emprisonnés Dame mon cuer en vous remaint data.bnf.fr 2/22 Data J'aim mieus languir Dou mal qui m'a longuement En amer a douce vie Tuit mi penser sont sans cesser Dame a vous sans retollir Foy porter honneur garder Tu qui gregem tuum ducis Hoquetus David Qui és promesses de Fortune se fie De bon espoir C'est force faire le vueil Dame comment qu'amez de vous ne soie Joie plaisence et douce norriture Gais et jolis liés chantans et joieus Le lay de la fonteinne Comment puet on mieus ses maus dire Doulz amis oy mon compleint Tels rit au main qui au soir pleure Quant j'ay l'espart Je vivroie liement Pas de tor en thies païs On ne porroit penser Donnez signeurs donnez a toutes mains Dame je weil endurer Chansons He, dame de vaillance Dame vostre doulz viaire Dame ne regardés pas Ma chiere dame a vous mon cuer envoy De Fortune me doy pleindre et loer Hareu, hareu, le feu Puis qu'en oubli Qui n'aroit autre deport Phyton, le mervilleus serpent Il m'est avis qu'il n'est dons de Nature Lay de consolation.