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Le Concert Spirituel Hervé Niquet, direction 5 Recorded at Notre Dame du Liban, Paris, in August 2011 Engineered by Manuel Mohino Produced by Dominique Daigremont Executive producer & editorial director: Carlos Céster Editorial assistance: María Díaz Stills from the documentary L’incroyable histoire de Striggio by Laurent Portes (© Step by Step Productions) Design: Valentín Iglesias (www.valentiniglesias.com) © 2012 note 1 music gmbh s a n a M c i r E © o t o h p Alessandro Striggio (c.1536-1592) Graduale 08 francesco corteccia : Alleluia 0:50 Mass for 40 and 60 voices a service for st john the baptist in florence Credo 09 alessandro striggio : Credo from Missa sopra Ecco sì beato giorno 8:10 5 Offertorium Processio 10 orazio benevoli : Magnificat 9:21 01 plainchant (anon.) : Beata viscera 3:31 Sanctus & Benedictus Oratio 11 alessandro striggio : Sanctus from Missa sopra Ecco sì beato giorno 3:38 02 orazio benevoli (1605-1672) : Laetatus sum 5:41 12 alessandro striggio : Benedictus from Missa sopra Ecco sì beato giorno 2:36 03 orazio benevoli : Miserere 3:47 Agnus Dei Introitus 13 alessandro striggio : Agnus Dei ( i) from Missa sopra Ecco sì beato giorno 2:28 04 francesco corteccia (1502-1571) : Bonum est confiteri Domino 0:45 14 plainchant (anon.) : Agnus Dei ( ii ) 0:36 05 francesco corteccia : Gloria Patri 1:10 15 alessandro striggio : Agnus Dei ( iii ) from Missa sopra Ecco sì beato giorno 1:54 Kyrie Communio 06 alessandro striggio : Kyrie from Missa sopra Ecco sì beato giorno 3:49 16 francesco corteccia : Tu puer propheta Altissimi 2:28 Gloria Motetus 07 alessandro striggio : Gloria from Missa sopra Ecco sì beato giorno 5:45 17 alessandro striggio : Ecce beatam lucem 7:48 4 5 Le Concert Spirituel Hervé Niquet, direction choir i Isabelle Schmitt, canto additional singers on the instrumentalists Marie-Pierre Wattiez, soprano Etienne Garreau, tenor 60-part agnus dei Eva Godard, cornett Eric de Fontenay, alto Grégoire Fohet Duminil, baritone Gwenaëlle Clemino, soprano Stefan Legée, alto sackbut Edmond Hurtrait, tenor Paul Willenbrock, bass Marie Griffet, soprano Fabien Dornic, tenor sackbut Leonardo Ortega, baritone Violaine Le Chenadec, soprano Franck Poitrineau, bass sackbut Christel Boiron, canto choir iv Chantal Santon-Jeffery, soprano Elsa Frank, soprano dulcian Gauthier Fenoy, tenor Hélène Richer, soprano Sonia Tedla Chebreab, soprano Philippe Canguilhem, alto dulcian Justin Bonnet, baritone Antoine Strub, alto Alice Habellion, canto Mélanie Flahaut, tenor dulcian Marc Busnel, bass Pascal Richardin, tenor Eva Zaicik, canto Jérémie Papasergio, bass dulcian Guillaume Olry, baritone Frédéric Bétous, alto Elisabeth Geiger, regal choir ii Edwige Parat, soprano Damien Brun, alto François Saint-Yves, organ Agathe Boudet, canto Edouard Hazebrouck, alto Jean-Christophe Clair, alto Jean-Luc Ho, harpsichord Daniel Cabena, alto Vincent Bouchot, tenor Arnaud Raffarin, alto Aurélien Delage, spinetta ottavina Laurent David, tenor Jean-Baptiste Alcouffe, bass Erwin Aros, tenor Tormod Dalen, basse de violon Romain Bockler, baritone Charles Barbier, tenor Luc Devanne, violone Anne-Marie Jacquin, soprano choir v Romain Champion, tenor Gabriel Jublin, alto Aude Fenoy, soprano Martial Pauliat, tenor instruments Michael Smith, tenor Yann Rolland, alto Frédéric Albou, bass organ: Denis Londe, 1993 Cédric Meyer, baritone Amine Hadef, tenor Geoffroy Buffière, bass regal: Quentin Blumenroeder, 1999 Eric Chopin, baritone François Fauché, bass spinetta ottavina: Philippe Humeau, 1995 choir iii Lucia Nigohossian, canto Matthieu Heim, bass harpsichord: Alain Anselm Nadia Lavoyer, soprano Nicolas Maire, tenor Guy Lathuraz, bass tuned by Karoly Mostis, equal temperament 440 Hz Dominique Visse, alto David Witczak, baritone Randol Rodriguez, tenor Paul-Henry Vila, bass Laurent Bourdeaux, baritone 6 7 l’engagement d’un mécène encourager les projets pionniers et l’excellence bnp Paribas est un acteur majeur de la vie économique. Mais une entreprise ne vit pas dans un univers clos ; Il existe de belles causes, au service desquelles s’élaborent des projets innovants, bien conçus, portés par une le mécénat est l’un des moyens par lesquels elle exprime l’attention qu’elle porte à son environnement pour vision à long terme… mais qui, pour se concrétiser, ont besoin du soutien appuyé d’un partenaire qui s’engage. devenir, aussi, un acteur à part entière de la vie culturelle et sociale. La Fondation Bru soutient et accompagne de tels projets, les rendant parfois tout simplement possibles. La Fondation bnp Paribas intervient dans cinq domaines : culture, santé, solidarité, éducation et Créée en 2005 à l’initiative du docteur Nicole Bru afin de pérenniser la mémoire des créateurs des environnement. Dans le domaine culturel, elle s’attache à promouvoir la connaissance du patrimoine, en Laboratoires upsa , la Fondation Bru place l’Homme et son environnement au cœur de toutes ses actions. faisant mieux connaître les collections des musées, en restaurant leurs chefs d’œuvre et en contribuant à la Elle se veut à l’image de cette famille de chercheurs entrepreneurs : engagée, profondément humaniste, découverte d’œuvres musicales inédites. Elle a été, en particulier, l’un des partenaires de la première heure du pionnière, utile . programme Les Chemins du baroque en Amérique latine . Dans le même temps, elle porte un regard attentif à l’expression contemporaine en accompagnant au jour le jour des créateurs dans des disciplines peu aidées par En matière de mécénat culturel, la Fondation Bru s’investit dans des projets qui contribuent à la sauvegarde le mécénat d’entreprise : danse contemporaine, nouveaux arts du cirque et jazz. d’un patrimoine, favorisent la diffusion des connaissances et l’émergence de nouveaux talents, font partager des émotions. Son engagement en faveur de la musique se manifeste notamment par deux actions : Mais, plus que ses champs d’intervention, c’est la façon dont la Fondation bnp Paribas accompagne ses partenaires qui caractérise sa démarche : s’inscrire dans le temps, cheminer à leurs côtés, vivre un peu de leur ¶ un soutien toujours renouvelé au concert spirituel, depuis sa création vie et de leurs passions, partager leurs succès mais aussi leurs difficultés. Les docteurs Jean et Nicole Bru ont assuré un soutien indéfectible à Hervé Niquet dès 1987. Depuis 2005, la Fondation Bru a pris le relais, permettant d’exhumer et de faire revivre des chefs d’œuvre oubliés de la C’est au Canada, en 2002, que la Fondation a croisé le chemin de Hervé Niquet. De cette rencontre est née musique baroque française une alliance riche d’échanges et d’envies partagées autour du Concert Spirituel dont elle accompagne les projets, en France et à l’international. ¶ la création du palazzetto bru zane – centre de musique romantique française Depuis 2009, cette fondation située à Venise, dans un palais du xvii e siècle restauré pour l’abriter, a pour La Fondation bnp Paribas a été créée en 1984, sous l’égide de la Fondation de France. Elle est membre de l’Admical vocation de favoriser la redécouverte du patrimoine musical français du grand xix e siècle (1780-1920) en lui (Association pour le Développement du Mécénat Industriel & Commercial) et du Centre Français des Fondations. assurant le rayonnement qu’il mérite et qui lui fait encore défaut. mecenat.bnpparibas.com www.fondation-bru.org 8 9 English towards France, which he reached in the spring. On May 18, he wrote to Florence from Paris, so as to ren - der an account to the son of the duke Cosimo, Francesco de’ Medici. He communicates the success which he had met at the court of Charles ix where, he said, he was able to have sung his 40-part Mass and that this work had greatly pleased the king. Another account of the event can be found in a letter Alessandro Striggio addressed to the Duke of Mantua on the same day: “For the rest, everything is passing off very well. Mass for 40 and 60 voices Striggio the musician has arrived at the court. His Majesty received him very willingly and desires to take him into his service, but Striggio does not wish On the morning of December 5, 1567, the Mantuan to remain there. His Majesty has heard him play on musician Alessandro Striggio departed from his the viol and on the lira, and today, indeed, has heard home town at the head of a train of pack animals his Mass for 40 voices and the Agnus for 60; and the which consisted of one mule and three horses. In his people who sang it were brought together by his luggage, he carried with him the string instruments Lordship Your Excellency’s brother [Ludovico which had been making his reputation, notably his Gonzaga, Duke of Nevers], that is, by the singers of enormous 18-string lira da gamba , “as tall and thick as his Excellency; and he gave them all dinner in his a man, and somewhat wider”, with which he had been lodgings; and after dining, late on, they sang the astounding all those who had the chance of hearing Mass, which pleased everyone in equal measure, but it. Carefully protected inside saddlebags, Striggio above all the musicians of this court”. was also taking with him the scores of those compo - This brief letter will certainly have reminded its sitions which he intended to have sung during the addressee that six years previously, Striggio (c .153 6- different stages of his journey. Some weeks before - 1592) had sent him a work for 40 voices, an Italian hand, he had obtained a leave of absence from his madrigal whose words, so explained the composer, patron, the Duke of Florence, his purpose being to had been written in honour of the duke’s marriage. visit a number of princely European courts and to Appended to his account was the comment, “never meet the musicians who were staying there. After before has such a work of this kind, written for so having visited Vienna and Munich, Striggio headed many voices, been heard until today”.
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    Music for Trombone and Voice from the Hapsburg Empire: an Historical Overview with Tenor Trombone Transcriptions

    Abstract Title of dissertation: MUSIC FOR TROMBONE AND VOICE FROM THE HAPSBURG EMPIRE: AN HISTORICAL OVERVIEW WITH TENOR TROMBONE TRANSCRIPTIONS Wayne W. Wells, Doctor of Musica l Arts, 2005 Dissertation directed by: Professor Gregory Mill er School of Music Compositions featuring voice and obbligato trombone reached a n artistic peak in the courts and monasteries of 18th century Austria due to the convergence of s everal factors. These factors included the influence of Giovanni Gabri eli and the many northern Italian composers who worked at the Austrian courts, the long history of religious connotations of the trombone in Germany and Austria , the high level of trombone playing in the courts of 18th century Vienna and Salzburg , and the unique ability of the trombone to blend with voices. This document explores the rich history of the trombone and charts the evolution of soloistic trombone writing in vocal music, from the innovations of large scale works by Gabrieli and Schütz to the highly virtuosic obbligato writing of composers in 18th century Austrian monasteries and the courts of Vienna and Salzburg. This exploration takes place through discussion of general trends in trombone writing as well as by examination of specific selected pieces that illustrate interesting or unique stylistic features. The document accompanies recordings of two recitals of Austrian and German music for trombone and voice from the 17th and 18th centuries. The r ecitals include several transcriptions of music originally written for alto trombone and alto voice into keys that would be suitable for performance by tenor trombone and tenor voice. This was done with the goal of sparking interest in this repertoire by less experienced trombonists.
  • Owens Curriculum Vitae

    Owens Curriculum Vitae

    JESSIE ANN OWENS [email protected] 530 902-5330 CURRICULUM VITAE July 2017 EDUCATION Princeton University Ph.D., Musicology 1978 dissertation: “An Illuminated Manuscript of Motets by Cipriano de Rore (München, Bayerische Staatsbibliothek, Mus. Ms. B)” M.F.A., Musicology 1975 Barnard College, Columbia University B.A. cum laude, Latin 1971 EMPLOYMENT University of California, Davis Distinguished Professor of Music (Emeritus from 2017) 2006– Dean, Division of Humanities, Arts and Cultural Studies 2006–2014 College of Letters & Science Brandeis University 1984-2006 Louis, Frances and Jeffrey Sachar Professor of Music Associate Professor, Professor Dean of Arts and Sciences 2000–2003 Dean of the College and Associate Dean of the Faculty 1987–1989 Eastman School of Music, University of Rochester 1980–1984 Assistant Professor of Musicology Columbia University 1977–1979 Mellon Fellow and Lecturer in Music LEADERSHIP POSITIONS University of California, Davis Dean, Humanities, Arts and Cultural Studies 2006-2014 Renaissance Society of America Jessie Ann Owens Page 2 President 2004–2006 American Musicological Society President 2000–2002 HONORS, GRANTS AND AWARDS Gladys Krieble Delmas, fellowship in Venetian Studies Fall 2017 Robert Lehman Visiting Professor, Villa I Tatti, Harvard University Center for Fall 2015 Italian Renaissance Studies Noah Greenberg Award, American Musicological Society, for distinguished 2015 contribution to the study and performance of early music, with Blue Heron, for a recording of Cipriano de Rore’s Madrigali a cinque