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Salon Musical Au Xviiie Siècle
Journées européennes du patrimoine Salon musical au XVIIIe siècle À l’écoute d’un mystérieux manuscrit de clavecin Samedi 14 septembre 2013 à 18h15 Archives des Yvelines Sommaire Programme p. 3 Le manuscrit p. 4 Les compositeurs p. 8 Un salon musical au XVIIIe siècle p. 10 Marie Vallin p. 11 Informations pratiques p.12 Concert donné à l’occasion des Journées européennes du patrimoine avec le concours du Conservatoire à rayonnement régional de Versailles et du Musée de la Toile de Jouy Conception et rédaction : Céline PAGNAC et Marie VALLIN - Conception graphique : Mathilde LAINEZ Ill. couverture, crédits : Archives des Yvelines Programme Jacques Duphly (1715-1789) La De Vatre La Félix La Lanza Domenico Scarlatti (1685-1757) Pièce sans titre [Allegro] Allegro Anonyme L’orageuse Jean-Baptiste Barrière (1707-1747) Grave-Prestissimo, Allegro, Aria Domenico Alberti (v. 1710-1740) Allegro moderato (1er mouvement de la Sonate II) Anonyme Le réveil matin Antoine Forqueray (1672-1745) La Mandoline : M. Vallin 3 Crédit photo Le manuscrit Un document atypique May (avec violon), Menuet. Mais aux Archives d’autres pièces françaises sont aussi présentes : La Mandoline ux Archives des Yvelines se d’Antoine Forqueray (1672-1745), trouve, classé sous la cote A Les Ciclopes [sic] et la Pantomime 1F207, un recueil manuscrit de de Pigmalion [sic] du célèbre pièces de clavecin. Il suscite de Jean-Philippe Rameau (1683-1764). nombreuses interrogations quant L’Italie est aussi représentée, avec à sa provenance, sa datation, au moins 5 sonates de Domenico son propriétaire. Il semble difficile Scarlatti (1685-1757), une sonate de remonter à ses origines : il n’est de Domenico Alberti (v. -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
Wenn Der Herr Qui Oppose La Douleur À La Récompense Qui S’Ensuit
zig-zag territoires © Photo : Guy Vivien © Photo 2 Les Cyclopes Matthias Weckman (1616-1674) Matthias Weckman est né à Niederdorla en Thuringe. Son père Jacobus, «poète couronné par l’empereur», y est pasteur. En 1627, une rencontre des princes-électeurs à Mühlhausen où la chapelle de la cour de Saxe est présente offre l’occasion à Jacobus de présenter son jeune fi ls à son directeur Heinrich Schütz. Peu de temps après, Matthias devient membre du choeur de garçons de la cour de Dresde et Schütz dirige personnellement son éducation à partir de 1629. Il bénéfi cie aussi de l’enseignement des chanteurs et de l’organiste de la cour. En 1633 à l’instigation de Schütz et grâce à une bourse du prince-électeur de Saxe (200 reichsthaler par an), Weckman se rend à Hambourg pour étudier l’orgue auprès de J. Praetorius. La richesse culturelle de la ville hanséatique lui offre une incomparable formation et c’est ainsi qu’il tempère la solennité de Praetorius par le charme de Scheidemann en apportant beaucoup d’inventions galantes à son style. (Mattheson, 1740). Ses études terminées, il retourne à la cour de Dresde en 1637 comme organiste de la chapelle princière. Il fait aussitôt un bref séjour à la cour du roi Christian IV à Copenhague pour rapporter à Dresde diverses partitions de Schütz. Il retourne au Danemark de 1643 à 1647 pour servir le prince 3 héritier Christian ce qui lui permet d’échapper aux diffi cultés fi nancières des musiciens de la cour de Dresde suite à la guerre de Trente Ans. -
Over the Last Five Years, Lathika Vithanage Has Established Herself As One of Australia and Europe’S up and Coming Baroque Violinists
BIOGRAPHIE – LATHIKA VITHANAGE Over the last five years, Lathika Vithanage has established herself as one of Australia and Europe’s up and coming baroque violinists. On arrival in Europe, with the assistance of Italian Government scholarships, Ian Potter Cultural Trust Grants and an Australia Council Skills and Development Grant, Lathika was able to profit from the musical and career guidance of baroque violin professors including: Stefano Montanari, Susanne Scholz, Judy Tarling, Richard Gwilt, Gottfried von der Goltz, Petra Mullejans, Olivia Centurioni, Elisa Citterio, Enrico Onofri, Manfredo Kraemer and Amandine Beyer. Following training projects with the Montis Regalis Orchestra (A De Marchi), Festival Aix en Provence opera orchestra (L G Alarcon) and the Ambronay European Baroque academy (S Kuijken), she was launched into the freelance baroque music scene in Europe. She is regularly called to perform and record with high profile European groups including: Accademia Bizantina (Italy), Freiburg Baroque Orchestra (Germany), Ensemble Clematis (Belgium), Concerto Italiano (Italy), La Cappella Mediterranea (France), Montis Regalis orchestra (Italy) and La Divina Armonia (Italy). Her passion lies in chamber music and single string work which she gets to explore not only with the two ensembles of which she is a founding member since 2011: Il Caleidoscopio and AbChordis Ensemble, but also with established European groups including; Concerto Italiano, Ensemble Clematis, Cappella Mediterranea, Montis Regalis orchestra, Les Cyclopes and Silete Venti. Lathika regularly returns to Australia to take part in the flourishing baroque music scene there, and is currently completing a specialised masters in baroque violin performance at the Schola Cantorum Basiliensis with Amandine Beyer. . -
Toccata Classics TOCC0052 Notes
RAMEAU ON THE PIANO, VOLUME THREE 1 by Graham Sadler The two suites recorded on this disc are from the Nouvelles suites de pièces de clavecin of 1729 or 1730, Rameau’s final collection of solo keyboard music.2 Like those of his Pièces de clavessin (1724), they are contrasted both in tonality and character. The Suite in A minor and major is dominated by dances and includes only three character pieces, whereas the Suite in G major and minor consists almost exclusively of pieces with character titles. In its make-up if not its style, the latter thus follows the example of François Couperin, whose first three books of pièces de clavecin (1713, 1717 and 1722) had established the vogue for descriptive pieces. In that sense, Rameau may be regarded as somewhat conservative in devoting half of his two mature solo collections to suites of the more traditional type. Suite No. 4 in A minor and major Conservative they may be, but the dance movements of the Nouvelles suites are among the most highly P developed in the repertory, the first two particularly so. The Allemande 1 unfolds with an effortless grace, its unerring sense of direction reinforced by the many sequential passages. At the end of both sections, the duple semiquaver motion gives way unexpectedly to triplet motion, providing a memorable ‘rhyme’ to the two parts of the movement. The Courante 2, more than twice as long as its predecessors in Rameau’s output, displays a technical sophistication without parallel in the clavecin repertory. Three themes interlock in mainly three- part counterpoint – a bold motif in rising fourths, and two accompanying figures in continuous quavers, the one in sinuous stepwise movement, the other comprising cascading arpeggios. -
MOZARTEUM BAROQUE MASTERCLASSES Concerto Degli
International Festival & Summer Academy 2021 60 CONCERTI, FOCUS SU STEVE REICH con Salvatore Accardo · Antonio Pappano · Lilya Zilberstein · Ilya Gringolts Patrick Gallois · Alessandro Carbonare · David Krakauer · Antonio Meneses DavidSABATO Geringas · Bruno 4 SETTEMBRE Giuranna · Ivo Nilsson - ORE· Mathilde 21,15 Barthélémy AntonioCHIESA Caggiano ·DI Christian S. AGOSTINO, Schmitt · Clive Greensmith SIENA · Quartetto Prometeo Marcello Gatti · Florian Birsak · Alfredo Bernardini · Vittorio Ghielmi Roberto Prosseda · Eliot Fisk · Andreas Scholl e tanti altri e con Orchestra dell’Accademia di Santa Cecilia · Orchestra della Toscana Coro Della Cattedrale Di SienaCHIGIANA “Guido Chigi Saracini - MOZARTEUM” . BAROQUE MASTERCLASSES 28 CORSI E SEMINARI NUOVA COLLABORAZIONEConcerto CON degli Allievi CHIGIANA-MOZARTEUM BAROQUE MASTERCLASSES docenti ANDREAS SCHOLL canto barocco MARCELLO GATTI flauto traversiere ALFREDO BERNARDINI oboe barocco VITTORIO GHIELMI viola da gamba FLORIAN BIRSAK clavicembalo e basso continuo maestri collaboratori al clavicembalo Alexandra Filatova Andreas Gilger Gabriele Levi François Couperin Parigi 1668 - Parigi 1733 da Les Nations (1726) Quatrième Ordre “La Piemontoise” Martino Arosio flauto traversiere (Italia) Micaela Baldwin flauto traversiere (Italia / Perù) Laura Alvarado Diaz oboe (Colombia) Amadeo Castille oboe (Francia) Alice Trocellier viola da gamba (Francia) Raimondo Mazzon clavicembalo (Italia) Georg Friedrich Händel Halle 1685 - Londra 1759 da Orlando (1733) Amore è qual vento Rui Hoshina soprano (Giappone) -
Going for a Song
FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school. -
Download Booklet
95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Du Clavecin À La Harpe
UNIVERSITÉ PARIS–SORBONNE ÉCOLE DOCTORALE V « CONCEPTS ET LANGAGES » Patrimoines et langages musicaux CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PARIS THÈSE Pour l’obtention du grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE Discipline / Spécialité : Musique Recherche et Pratique Présentée et soutenue par : Constance Luzzati Le 20 novembre 2014 Du clavecin à la harpe Transcription du répertoire français du XVIIIe siècle Sous la direction de : Madame Raphaëlle Legrand, professeur à l’université de Paris IV – Sorbonne Monsieur Kenneth Weiss, claveciniste, chef d’orchestre, professeur au CNSMDP JURY : Madame Violaine Anger, maître de conférence habilité à diriger des recherches à l’Université d’Evry-Val-d’Essonne Monsieur Jean-Pierre Bartoli, professeur à l’Université Paris IV – Sorbonne Monsieur Philippe Brandeis, directeur des études musicales et de la recherche au CNSMDP Madame Raphaëlle Legrand, professeur à l’Université Paris IV – Sorbonne Madame Isabelle Moretti, harpiste, professeur au CNSMDP Monsieur Bertrand Porot, professeur à l’Université de Reims Monsieur Kenneth Weiss, claveciniste, chef d’orchestre, professeur au CNSMDP 1 2 Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité. -
| 216.302.8404 “An Early Music Group with an Avant-Garde Appetite.” — the New York Times
“CONCERTS AND RECORDINGS“ BY LES DÉLICES ARE JOURNEYS OF DISCOVERY.” — NEW YORK TIMES www.lesdelices.org | 216.302.8404 “AN EARLY MUSIC GROUP WITH AN AVANT-GARDE APPETITE.” — THE NEW YORK TIMES “FOR SHEER STYLE AND TECHNIQUE, LES DÉLICES REMAINS ONE OF THE FINEST BAROQUE ENSEMBLES AROUND TODAY.” — FANFARE “THE MEMBERS OF LES DÉLICES ARE FIRST CLASS MUSICIANS, THE ENSEMBLE Les Délices (pronounced Lay day-lease) explores the dramatic potential PLAYING IS IRREPROACHABLE, AND THE and emotional resonance of long-forgotten music. Founded by QUALITY OF THE PIECES IS THE VERY baroque oboist Debra Nagy in 2009, Les Délices has established a FINEST.” reputation for their unique programs that are “thematically concise, — EARLY MUSIC AMERICA MAGAZINE richly expressive, and featuring composers few people have heard of ” (NYTimes). The group’s debut CD was named one of the "Top “DARING PROGRAMMING, PRESENTED Ten Early Music Discoveries of 2009" (NPR's Harmonia), and their BOTH WITH CONVICTION AND MASTERY.” performances have been called "a beguiling experience" (Cleveland — CLEVELANDCLASSICAL.COM Plain Dealer), "astonishing" (ClevelandClassical.com), and "first class" (Early Music America Magazine). Since their sold-out New “THE CENTURIES ROLL AWAY WHEN York debut at the Frick Collection, highlights of Les Délices’ touring THE MEMBERS OF LES DÉLICES BRING activites include Music Before 1800, Boston’s Isabella Stewart Gardner THIS LONG-EXISTING MUSIC TO Museum, San Francisco Early Music Society, the Yale Collection of COMMUNICATIVE AND SPARKLING LIFE.” Musical Instruments, and Columbia University’s Miller Theater. Les — CLASSICAL SOURCE (UK) Délices also presents its own annual four-concert series in Cleveland art galleries and at Plymouth Church in Shaker Heights, OH, where the group is Artist in Residence.