DOCSLIB.ORG

Sfems Presents No V Em B Er 17–19 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sfems Presents No V Em B Er 17–19 2017 SFEMS PRESENTS Ciaramella 1517—German MUSIC BEFORE AND AFTER THE REFORMATION Songs of love, lust, and devotion NOVEMBER 17–19 2017 PALO ALTO | BERKELEY | SAN FRANCISCO 2 SFEMS PRESENTS 2 Ciaramella Adam and Rotem Gilbert, Directors Adam Gilbert, shawm, recorder, bagpipe; Rotem Gilbert, shawm, recorder, bagpipe; Malachai Komanoff Bandy, shawm, viol, hurdy-gurdy, bagpipe; Adam Bregman, sackbut, recorder, cornamuse; Aki Nishiguchi, shawm, recorder, cornamuse; Jason Yoshida, vihuela, guitar, percussion 1517: German Music Before and after the Reformation Bransles double Michael Praetorius (1571–1621) Gavottes Praetorius Maria salve virginum Conradus Rupsch der Singer (ca. 1475–1530) Hymnizemus regi altissimo Rupsch? Nun bitt wir den haÿligen gaÿst Rupsch Annavasanna Conrad Paumann (ca. 1410–1473) Mater sancta dulcis Anna Anon. German, ca. 1500 Mit ganczem willen Paumann Mein traut geselle Anonymous Zart lieb Anonymous Es taget vor dem Walde Ludwig Senfl (1486–1542) In Gottes Namen fahren wir Paul Hofhaimer (1459–1537) In Gottes Namen fahren wir Isaac In Gottes Namen fahren wir Finck Ach, was will doch mein hertz Anon. Köln (ca. 1530) Ach, was will doch mein hertz Heinrich Isaac (ca. 1450–1517) Nigra sum sed formosa Heinrich Finck (1445–1527) Ach lieve Herr Gilbert, over 15th-c. Melody Ach reine zart Anonymous In feurs hitz Anonymous Le Petit Rouen Adam K. Gilbert, over 15th-c. Tenor INTERMISSION 16 SFEMS Dance Suite from Danserye Tielman Susato (ca. 1510–after 1570) Ronde IV Ronde VI/ Salterelle Ronde IX Preambel Hans Neusidler (ca. 1508–1563) Was wird es doch Ludwig Senfl (1486–1542) Variations over “Wil nieman singen” Melody after Ludwig Senfl Variations over “Mein junges Leben hat ein Ende” Adam K. Gilbert Variations over Praetorius’ Pavane d’Espagne Gilbert Gaillarde Susato Canarios Gaspar Sanz (1640–1710) Buffons/Volte Praetorius Friday, November 17, 2017, 8:00 p.m. | First Presbyterian Church, Palo Alto Saturday, November 18, 2017, 7:30 p.m. | St. John’s Presbyterian Church, Berkeley Sunday, November 19, 2017, 4:00 p.m. | St. Mark’s Lutheran Church, San Francisco CANDLELIGHT AND STARLIGHT with the Whole Noyse and special guest, percussionist Peter Maund Kick off your holiday season with our beloved candlelight con- cert! Bring the whole family for a festive, meaningful Christmas journey around the world and through the centuries, including a world premiere commissioned by SFBC. SATURDAY, DECEMBER 2, 4:00 PM SUNDAY, DECEMBER 3, 4:00 PM Calvary Presbyterian Church, 855-4SF-BACH (855-473-2224) 2515 Fillmore St. (at Jackson), SF www.sfbach.org Tickets from $10, Kids are Free SFEMS 17 n 2 PROGram NOtes 2 The year 1517 ushered in the Protestant with In feuers hitz to suggest shared author- Reformation, marked the death of composer ship. Henricus Isaac, and saw the publication of Jo- hannes Reuchlin’s The Art of the Kabbalah, a The Glogauer Liederbuch was collected by work that profoundly influenced sacred and Martin von Rinkenberg, the Abbot of Żagań musical symbolism. Both before and after that in Silesia. Evidence suggests that Rinkenberg watershed year, German lands resounded with copied the manuscript himself, until he was dis- song and dance. Amidst all the tumult, Ger- abled by a stroke in 1482, close to the date of man musicians enjoyed reputations as some of the last watermark in the manuscript. Heinrich the finest composers and performers of the era. Finck’s Nigra sum sed formosa, a four-voice set- ting from the biblical Song of Songs, is one of the The Lochamer Liederbuch contains a trea- final compositions copied into the book. Finck sure trove of German melodies from the mid follows common German practice of setting the fifteenth century. This manuscript possibly re- chant to notes of equal value, with outer voices flects a Jewish musical culture, for it contains a paraphrasing the chant in florid imitation. Yiddish inscription in Hebrew letters, “For my most beloved Barbara.” The anonymous Mein Three monumental manuscripts—Munich traut geselle is one of few three-voice settings in 3154 (“Kodex Leopold”), Leipzig 1494 (“Apel Lochamer, which contains mainly monophonic Kodex”), and Berlin 40021—preserve a wealth melodies, like the popular song of disillusioned of German music from around 1500, including love, Zart lieb wie süß. works by Henricus Isaac, Heinrich Finck, and the lesser known Conrad Rupsch der Singer, The second part of the Lochamer Liederbu- whose Nun bitt wir den haÿligen gaÿst and Maria ch includes the 31 organ intabulations of Con- salve virginum suggest that he could easily have rad Paumann’s Fundamentum organisandi. Born studied with either Isaac of Finck. Adjacent to blind, Paumann was one of the most respected Maria salve virginum, unattributed Hymnize- organists of his day, and his settings of German mus regi altissimo is so close to in style that we lieder like Mit ganczem willen provide insight think it is also likely by Rupsch. In Gottes Na- into the rich tradition of contrapuntal improvi- men fahern wir, one of the favorite chorale tunes sation in fifteenth-century Germany. Paumann both before and after the Reformation, was set also composed florid versions of French chan- by Finck, Isaac, and Paul Hofhaimer, Isaac’s sons, albeit with corrupt titles. For example, colleague and friend and organist to Hapsburg the oddly named Annavasana actually sets the Emperor Maximilian I. French chanson “En avois”. Almost all of the songs in our program The anonymous Zart lieb wie süß enjoyed are Tenorlieder, in which outer voices dress the special popularity, surviving in a three-voice main melody held in the Tenor voice. Isaac’s setting in the Schedel Liederbuch and in the Ach, was will doch bears striking resemblance to melody of a sacred Polish hymn. As a student an anonymous version that sounds suspicious- and doctor, Hartmann Schedel copied many ly like the handiwork of Ludwig Senfl, Isaac’s songs into this manuscript, with scribal er- most famous pupil. Senfl’s Was wird es doch rors that reveal gaps in his musical training. sets a beautiful soaring melody to a dark text, Schedel’s collection shares a number of songs perhaps appropriate in a song about hypocrisy, in common with the Glogauer Liederbuch. The in which sweet smiles hide evil glances. His Es anonymous In feuers hitz so brennet mein Herz taget vor dem Walde begins with the sound of a survives in the Glogauer Liederbuch with the trumpet, announcing that the lovers must part sacred contrafactum Mole gravati criminum. before daylight reveals their tryst: “The day is Ach rein zart shares enough traits in common breaking in the woods, the hares will be jump- 18 SFEMS ing shortly, wake up Käterlein, you are mine.” arrangements of popular dances in his Danserye Parallels to this aubade or morning song range remain some of the greatest hits of Renaissance from Shakespeare’s Romeo and Juliet and the music. Their unusual compositional style prob- Everly Brothers hit, Wake Up, Little Susie. Our ably originated in Susato’s desire to make the variations over Wil niemand singen are inspired music fit on a variety of wind consorts. We have by Senfl, for this charming little folk song sur- been unable to resist playing these dances on vives only because he set it to polyphony. bagpipes. Our pipes are based on paintings by Pieter Breughel and Albrecht Dürer. Our small Dance played an especially important role bagpipes are based on engravings from Michael in Renaissance society. The basse danse earned Praetorius’ Syntagma musicum, an illustrated its name from its low gliding step that cultivat- dictionary of musical instruments. Their cy- ed a sense of effortless ease. The manuscript of lindrical bores create a sweeter buzzing sound, Marguerite of Austria preserves many of these earning them the moniker “hummelchen” (“lit- dance melodies on black parchment with gold tle bumble bee”). staves and silver notes. Despite its popularity, the only surviving polyphonic setting of Le pe- Praetorius left a large body of sacred compo- tit rouen survives is found in a German manu- sitions for magnificent court choirs in Wolfen- script from the sixteenth century. Our version büttel and Dresden. Yet he is remembered most adds polyphonic voices in a range of fifteenth- for Terpsichore, his toe-tapping compendium century styles—fauxbourdon, florid parallel of Renaissance dances that open and close our tenths, ostinato patterns, and as a simple chord- program. His Pavane d’Espaigne inspires our al dance—a short history of fifteenth-century set of variations over this Spanish ground. We counterpoint in one song. also add variations to Mein junges Leben hat ein Ende, one of the great moral songs of the Dutch Born in Cologne, Tielman Susato earned Reform tradition. Outlining major and minor his reputation in Antwerp as a successful instru- scales, its melody echoes a text that bids farewell mentalist, music publisher, and composer. His to both joys and sorrows. —Adam Knight Gilbert 2 ABOut CiarameLLA 2 Praised for performing intricate fifteenth- Directed by Adam and Rotem Gilbert, century counterpoint “with the ease of jazz from the Early Music Program at USC Thorn- musicians improvising on a theme,” Ciara- ton School of Music in Los Angeles, the en- mella brings to life medieval and early Re- semble performs at major festivals throughout naissance music from historical events and the United States, Italy, and Germany. Perfor- manuscripts. Its members are united by the mances have included the Cleveland Museum conviction that every composition conceals a of Art, Bloomington Early Music Festival, rich story waiting to be unlocked through his- Oberlin’s Baroque Performance Institute, the torical research and speculative performance. Lute Society of America, the American Musi- Founded on a core of winds—shawm, sack- cological Society in Seattle, and on early music but, recorder, organ, and voice—Ciaramella series in Cleveland, San Francisco, San Diego, takes its name from the Italian shawm and Houston, Arizona, Early Music in Columbus, from a fifteenth-century song about a beauti- Salt Lake City, Seattle’s Early Music Guild, ful girl whose clothes are full of holes.
Load more

Recommended publications
  • Student Recital
    Student Recital Room 106 Schaefer Fine Arts Center Gustavus Adolphus College Saturday, July 21st, 2007 9:00:AM Program » Quintet Op. 77 in G Major Antonin Dvorak (1841-1904) Angela Xie, violin Julia Johnson, violin Elizabeth Johnson, violin Bjorn Hovland, cello Matt Minteer, bass Bourrie 1 from Suite 43 inC Major Johann Sebastian Bach (1685-1750) John Sholund, bass guitar . Preguntale a Las Estrellas Latin American Folk Song Arr, Edward Kilenyi Christine Hoffman, mezzo-soprano Galina Zisk, piano Intorno all’idol mio Marco Antonio Cesti z (1623-1669) Christine Mennicke, soprano Galina Zisk, piano a a i a We ask that all members of the audience refrain from photographing or recording the performance. Please be sure that a all cell phones, beepers, alarms, and similar devices are turned off. cm A high-fidelity recording of this performance may be ordered. A @ brochure will be available following the performance. = You are invited to attend the next events of a The 2007 Lutheran Summer Music Festival: = Student Recitals a Christ Chapel & Room 214, and Room 106 Schaefer Fine Arts Center = Gustavus Adolphus College = Saturday, July 21st, 2007 10:30 AM, 12:00 PM, and 2:30 PM | al Jazz Ensemble Concert Bjérling Recital Hall «a Schaefer Fine Arts Center e Gustavus Adolphus College Saturday, July 21st, 2007 ea 1:00 PM e Festival Orchestra Concert e Christ Chapel a Gustavus Adolphus College Saturday, July 21st, 2007 e 7:00 PM = e This concert is the thirty-eighth event of = Lutheran Summer Music Festival 2007 = = «a «= ee se «= LUTHERAN. UMIME Ro ~~__ACADEMY & FESTIVAL Collegium Musicum S.
    [Show full text]
  • FOMRHI Quarterly
    il£jia Dal Cortivc Quarterly No. €><4- Jxxly 199 1 FOMRHI Quarterly BULLETIN 64 2 Bulletin Supplement 4 MEMBERSHIP LIST Supplement 63 CO Ivl _vlT_J 1ST ICATI01ST S 1044 Review. A.C.I.M.V. (Larigot) Wind Instrument Makers and their Catalogues No. 1: Martin Freres & FamilJe J. Montagu 5 1045 John Paul: an appreciation J. Barnes 6 1046 [Letter to J. M.] D. J. Way 7 1047 On teaching wood to sing D. J. Way 8 1048 Reconstructing Mersenne's basson and fagot G. Lyndon-Jones & P. Harris 9 1049 Praetorius' "Basset: Nicolo" - "lang Strack basset zu den Krumhomer", or "Centaur, mythical beast"? C. Foster 20 1050 Paper organ pipes D. S. Gill 26 10S1 The longitudinal structure of the "Bizey Boxwood Flute" M. Brach 30 1052 Dutch recorders and transverse flutes of the 17th and 18th century J. Bouterse 33 1053 Some English viol belly shapes E. Segerman 38 1054 Mersenne's monochord B. Napier- Hemy 42 1055 Essays of Pythagorean system: 1. primary concepts, 2. two-dimensional syntax F. Raudonikas 44 1056 Evidence of historical temperament from fretted clavichords P. Bavington & M. Hellon 55 1057 A signed Mietke harpsichord A. Kilstrom 59 FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec.: J. Montagu, c/o Faculty of Music, St. Aldate's Oxford OX1 1DB, U.K. Bull. 64, p. 2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 64 July, 1991 Well, last time was a bit of a shock. I expected it to be late, as I'd warned you it would be, but not as late as it was.
    [Show full text]
  • June 2015 Broadside
    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Prelude | Grove Music
    Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed.
    [Show full text]
  • 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]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [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]
  • 0 – Inleiding – Drie Bedenkingen
    0 – INLEIDING – DRIE BEDENKINGEN Bedenking 1 ‘Klassieke muziek’ is een wijd verbreid begrip. Toch is het een beetje een ongelukkige benaming. Het gaat om meer dan muziek uit de classicistische tijd – de tweede helft van de 18de eeuw. Mogelijk een betere omschrijving is: Europese (westerse) ‘kunstmuziek’, waarvan de geschiedenis een periode van ongeveer 1000 jaar omspant. Deze westerse ‘kunstmuziek’ onderscheidt zich: 1) van populaire muziek (volksmuziek – ‘wereld’muziek – jazz – pop – …), 2) van kunstmuziek uit andere culturen door: gecomponeerde en dus genoteerde meerstemmigheid Bedenking 2 De plaats die muziek in onze eigentijdse samenleving inneemt, is – vergeleken met het verleden – nieuw en bijzonder. Deze breuk met het verleden, die zich kort na 1900 begon af te tekenen onder invloed van allerlei technologische en maatschappelijke veranderingen, kunnen we ons als volgt voorstellen: de ste tot en met de 19 eeuw vanaf de 20 eeuw alle muziek is live muziek is eindeloos reproduceerbaar, waardoor live-uitvoeringen zwaar onder druk komen te staan ( zijn ze wel nodig? + al te kritische benadering ) beperkt aanbod onbeperkt aanbod het overgrote deel van de muziek is de gehoorde muziek is vaak niet eigen- eigentijds en is dus een directe tijds, waardoor een eigentijds klankbeeld uitdrukking van de tijdsgeest veel minder eenduidig wordt de gehoorde muziek past in de eigen muziek kan uit alle leefruimtes komen, leefruimte, zowel geografisch als zowel geografisch als naar stand en naar stand en geloof geloof - wat met het echte begrip? pas
    [Show full text]
  • The Sackbut and Pre-Reformation English Church Music
    146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another.
    [Show full text]
  • Xavier Díaz-Latorre, Eorbo and Baroque Guitar Music for Kings And
    Indianapolis Foundation, on the occasion of its 100th anniversary, is the presenting sponsor of the IEM 50th Anniversary Season Friday, June 24th, 2016 Xavier Díaz-Latorre, "eorbo and Baroque Guitar Music for Kings and Commoners Suite for "eorbo in A minor La Royalle Robert de Visée (ca. 1655 – Prelude 1732/1733) Allemande Courante Sarabande Masquerade Chaconne Suite for the "eorbo in C Minor Le Plainte Robert de Visée Prélude Allemande pour la mort de Mds. de Visée DIAZ-LATORRE // JUNE 24 JUNE // DIAZ-LATORRE Suite for the "eorbo in G Major Robert de Visée Musette Chaconne From Le Bourgeois Gentilhomme Jean-Baptiste Lully (1632-1687) Suite de dances Intermission Instrucción de música para la guitarra española (1697) Gaspar Sanz (1640-1710) Pavana al ayre español Xácara Passeos por el cuarto tono Tarantella ( improvisation) Poema harmónico (1694) Francisco Guerau (1659-1722) Marionas Instrucción de música para la guitarra española Gaspar Sanz Xácara Paradetas (improvisation) 22 THE 2016 INDIANAPOLIS EARLY MUSIC FESTIVAL Xavier Díaz-Latorre was born in Barcelona, Spain, in 1968. He studied in Basel with Oscar Ghiglia at the Musikakademie and with Hopkinson Smith at the Schola Cantorum. He has given concerts in major venues around the world, including Carnegie Hall (New York), Covent Garden (London), the Palaude la Música Catalana (Barcelona), the Teatro Real (Madrid), the Teatro Colón (Buenos Aires), the Wiener Philharmoniker (Vienna), and the Konzerthaus (Berlin). Díaz-Latorre performs regularly with such world-renowned ensembles as Hesperion XXI, La Capella Reial de Catalunya, and Le 24 JUNE // DIAZ-LATORRE Concert des Nations. He has also performed with Al Ayre Español, the Orquesta Nacional de España, Concerto Vocale, the Akademie für Alte Musik Berlin, and Concerto Köln.
    [Show full text]
  • The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth
    The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Adam R. Gustafson June 2011 © 2011 Adam R. Gustafson All Rights Reserved 2 This dissertation titled The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria by ADAM R. GUSTAFSON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts _______________________________________________ Dora Wilson Professor of Music _______________________________________________ Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT GUSTAFSON, ADAM R., Ph.D., June 2011, Interdisciplinary Arts The Artistic Patronage of Albrecht V and the Creation of Catholic Identity in Sixteenth- Century Bavaria Director of Dissertation: Dora Wilson Drawing from a number of artistic media, this dissertation is an interdisciplinary approach for understanding how artworks created under the patronage of Albrecht V were used to shape Catholic identity in Bavaria during the establishment of confessional boundaries in late sixteenth-century Europe. This study presents a methodological framework for understanding early modern patronage in which the arts are necessarily viewed as interconnected, and patronage is understood as a complex and often contradictory process that involved all elements of society. First, this study examines the legacy of arts patronage that Albrecht V inherited from his Wittelsbach predecessors and developed during his reign, from 1550-1579. Albrecht V‟s patronage is then divided into three areas: northern princely humanism, traditional religion and sociological propaganda.
    [Show full text]