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Frescobaldi Gesualdo Solbiati
Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8. -
Unsung Heroines, Final Prg AB
The South African Early Music Trust (SAEMT) and Music Mundi present Unsung Heroines Celebrating Barbara Strozzi’s 400th birthday with an all-female Baroque composer’s programme Bianca Maria Meda Cari Musici (1665-1700) for solo soprano, 2 violins & bc Barbara Strozzi Le Tre Gratie (op 1, no 4) (1619-1677) for soprano trio & bc Sonetto proemio del opera: Mercè di voi (op 1, no 1) for soprano duet & bc Il Romeo: Vagò mendico il core (op 2, no 3) - for mezzo-soprano solo & bc Isabella Leonarda Sonata Decima (1620-1704) for two violins & bc Barbara Strozzi Che si può fare (op 8, no 6) for soprano solo & bc Canto di bella bocca (op 1, no 2) for soprano duet & bc – INTERVAL – Francesca Caccini Ciaccona (1587-ca.1641) for solo violin & bc Barbara Strozzi L’eraclito amoroso (op 2, no 14) for soprano solo & bc Dialogo in partenze: Anima del mio core (op 1, no 8) for soprano duet & bc La Riamata da chi Amava: Dormi, dormi (op 2, no 18) for soprano duet, two violins & bc Sino alla morte (op 7, no 1) Cantata for soprano solo & bc Nathan Julius – countertenor, soprano Tessa Roos – mezzo-soprano Antoinette Blyth – soprano & program compilation Annien Shaw, Cornelis Jordaan – Baroque violins Vera Vuković – lute, chitarrone Jan-Hendrik Harvey – Baroque guitar Grant Brasler – virginal Hans Huyssen – Baroque cello & musical direction We thank the Rupert Music Foundation and the Gisela Lange Trust for their generous support, as well as Bill Robson for the use of his virginal. Notes on Barbara Strozzi (1619-1677) Barbara Strozzi had the good fortune to be born into a world of creativity, intellectual ferment, and artistic freedom. -
DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016
DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert. -
Radio 3 Listings for 5 – 11 March 2016 Page 1 of 20 SATURDAY 05 MARCH 2016 Polish Radio Symphony Orchestra, Lukasz Borowicz (Conductor)
Radio 3 Listings for 5 – 11 March 2016 Page 1 of 20 SATURDAY 05 MARCH 2016 Polish Radio Symphony Orchestra, Lukasz Borowicz (conductor) SAT 01:00 Through the Night (b071d0k5) 4:46 AM Nelson Goerner and Dang Thai Son at the 2014 Chopin and his Byrd, William (c.1543-1623) Europe International Music Festival Browning à 5 The Rose Consort of Viols: John Bryan, Alison Crum, Sarah Catriona Young presents a concert given by pianists Nelson Groser, Roy Marks, Peter Wendland (viols) Goerner and Dang Thai Son with the Orchestra of the Eighteenth Century in Poland. 4:50 AM Haydn, Joseph (1732-1809) or possibly Pleyel, Ignace 1:01 AM (1757-1831) arr. Perry, Harold Beethoven, Ludwig van [1770-1827] Divertimento (Feldpartita) (H.2.46) in B flat major arr. for wind Piano Concerto No. 5 in E flat major Op.73 (Emperor) quintet (attributed to Haydn, possibly by Pleyel) Nelson Goerner (piano), Orchestra of the 18th Century, Kenneth Bulgarian Academic Wind Quintet: Georgi Spasov (flute), Georgi Montgomery (conductor) Zhelyazov (oboe), Petko Radev (clarinet), Marin Valchanov (bassoon), Vladislav Grigorov (horn) 1:38 AM Chopin, Fryderyk [1810-1849] 5:01 AM From 24 Preludes Op.28 for piano - No.15 in D flat 'Raindrop' Ebner, Leopold (1769-1830) Nelson Goerner (piano) Trio in B flat major Zagreb Woodwind Trio 1:44 AM Chopin, Fryderyk [1810-1849] 5:08 AM Piano Concerto No.1 in E minor Op.11 Schumann, Robert [1810-1856] Dang Thai Son (piano), Orchestra of the 18th Century, Kenneth Adagio and Allegro in A flat major (Op.70) Montgomery (conductor) Lise Berthaud -
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. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Apollo's Fire
Apollo’s Fire: “Allure” at First Baptist (Nov. 8) by Daniel Hathaway You’d be fortunate enough these days to be able to field three sopranos who could successfully channel the celebrated singing of the Three Ladies of the Court of Ferrara, but to find a trio of singers who all happen to be named Amanda would really be pushing your luck. Jeanette Sorrell did just that for Apollo’s Fire’s “Allure” programs earlier this month, and the results are stunning. Sopranos Amanda Forsythe and Amanda Powell and mezzo-soprano Amanda Crider deliver the kind of jaw-dropping performances of virtuosic works that might well have landed them jobs at the 17th-century Ducal court. The original Concerto di donne, Laura Peverara, Anna Guarini, and Livia d’Arco, were among the first female professional singers and their vocal prowess inspired such composers as Luzzascho Luzzaschi, Benedetto Ferrari, Barbara Strozzi, Claudio Monteverdi, and Virgilio Mazzocchi to write groundbreaking music for them to sing at the Duke’s private concerts. After a prelude that includes the traditional Catalan Song of the Birds and a Passacaglia della Vita attributed to Stefano Landi, the first of several Chaconnes (a spirited one by Andrea Falconiri) accompanies the Amandas to their individual plexiglass compartments for a vocally distanced performance of Luzzaschi’s Dolcezze amarissime. “Who needs the three tenors?” Sorrell asks rhetorically in her opening remarks. The ladies seem to answer, “Not us!” as they effortlessly negotiate Luzzaschi’s fluttery melismas and ornaments. Delightful accompaniment is provided by three violinists (Francisco Fullana, Emit Tanabe, and Andrew Fouts), cellist René Schiffer, harpist Parker Ramsay, lutenists William Simms and Brian Kay, and percussionist Anthony Taddeo. -
Finding Their Voice: Women Musicians of Baroque Italy
Trinity University Digital Commons @ Trinity The Expositor: A Journal of Undergraduate Research in the Humanities English Department 2016 Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_expositor Part of the Musicology Commons Repository Citation Poynor, F. (2016). Finding their voice: Women musicians of Baroque Italy. The Expositor: A Journal of Undergraduate Research in the Humanities, 12, 70-79. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in The Expositor: A Journal of Undergraduate Research in the Humanities by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Finding Their Voice: Women Musicians of Baroque Italy Faith Poynor emale musicians began to achieve greater freedom and indepen- dence from men during the Baroque period, and their music and Fcreative talent consequently began to flourish. Due to the rise in popularity of female vocal ensembles that resulted after the establishment of the con- certo delle donne in 1580, women composers in early modern Italy gained greater access to musical training previously only available to men or nuns. As seen by the works of composers and singers such as Francesca Caccini and Barbara Strozzi, this led to an unprecedented increase in women’s mu- sical productivity, particularly in vocal music. The rise of female vocal ensembles in the early Baroque period was a pivotal moment in women’s music history, as women finally achieved wide- spread recognition for their talents as musicians. -
Richard Wistreich
Richard Wistreich »Real Basses, Real Men« - Virtü and Virtuosity in the Con- struction of Noble Male ldentity in Late Sixteenth-Century ltaly The prime category of identity for the ruling dass as a social group in sixteenth- century Europe and on which they staked their daim ta rule, was nobility.1 At the beginning of the century the nobility still saw their status not so much in terms of a birthright but rather as a quality that needed constantly to be re-af- firmed thraugh virtuous actions, an echo of chivalric romance.2 In that a funda- mental uniting factor amongst male members of the nobility was military, the prime location for their acts of structured violence was war, or its stylised ver- sions, the duel or the tournament. In the course of the century, changing cir- cumstances, particularly in the ways in which warfare was carried out and the political formations that were served by it, limited the possibilities for men to enact affirmations of nobility on the battlefield and there was an increasing ten- dency for the noble dass to elevate birth and riches over deeds as the foundation af their status, and helped, meanwhile, to insulare the dass fram creeping en- trism. evertheless, the process was a gradual one, and the military image con- tinued to play a significant part in the construction of male nobility. Likewise, the performance of virtuous actions continued to signify in the affirmation of nobility, even if the lacation for these performances was, increasingly, the court. When warriors are also courtiers, they participate in a wide-ranging curriculum that includes many non-violent types of social discaurse such as conversation, dancing, games and music-making. -
Festival Nits De Classica CERT
Festival Nits de Classica CERT Diumenge 28 de juny, 21 h. Auditori de la Mercè 2 Concerto Italiano CON Rinaldo Alessandrini, director Els madrigals i Anna Simboli, soprano Gianluca Ferrarini, tenor els experiments expressius Monica Piccinini, soprano Matteo Bellotto, bajo Andrea Arrivabene, alto Craig Marchitelli, tiorba Luca Cervoni, tenor Ugo Di Giovanni, tiorba PROGRAMA Il Pastor Fido PART I Òscar Bonany i Capdeferro, contratenor L. Marenzio (1553-1599): Cruda Amarilli a 5 (Settimo Libro) M. Casentini (1576-1651): Cruda Amarilli a 5 (La cieca) Si bé el madrigal és un dels puntals principals de l’evolució musical del s. XVI, la seva història està S. D’India (1582-1629): Cruda Amarilli a 5 (Primo Libro) marcada tant per les innovacions en la pintura musical, motor expressiu de tota la madrigalística A. Cifra (1560-1629): Cruda Amarilli a 5 (Primo Libro) i principi bàsic de les músiques del renaixement tardà, el manierisme i el primer barroc, com G. Wert (1535-1596): Cruda Amarilli a 5 (Undicesimo Libro) per l’evolució del gust pels textos cada cop més dramàtics i plens d’imatges poètiques, propicis C. Pallavicino (1630-1688): Cruda Amarilli a 5 (Sesto Libro) als madrigalismes més agosarats que culminaran amb els affetti musicali, i que s’allunyaran del C. Monteverdi (1567-1643): Cruda Amarilli a 5 (Quinto Libro) model inicial que Petrarca deixà darrere seu. L. Marenzio: Udite lagrimosi spirti d’Averno a 5 (Sesto Libro) G. Wert: Udite lagrimosi spirti d’Averno a 5 (Undecimo Libro) Així, en una escalada que tendeix a modernitzar la tria dels textos –i simplificant, és clar–, el cinc-cents comença amb un predomini dels textos de Petrarca i els seus primers seguidors, que , 2014 - 190 x 148 cm PART II fa una deriva progressiva cap al gran Torquato Tasso i la seva Gerusalemme liberata i, finalment, cristal·litza en la figura de Giovanni Battista Guarini i el seu Il Pastor fido. -
Il Canto Delle Dame B
IL CANTO DELLE DAME B. STROZZI, F. CACCINI, C. ASSANDRA, I. LEONARDA MARIA CRISTINA KIEHR — JEAN-MARC AYMES — CONCERTO SOAVE Le Centre culturel de rencontre d’Ambronay reçoit le soutien du Conseil général de l’Ain, de la Région Rhône-Alpes et de la Drac Rhône-Alpes. Le label discographique Ambronay Éditions reçoit le soutien du Conseil général de l’Ain. Ce disque a été réalisé avec l’aide de la Région Rhône-Alpes. Concerto Soave reçoit le soutien du ministère de la culture et de la communication (Direction régionale des affaires culturelles de la région Provence-Alpes-Côte d’Azur) au titre de l’aide aux ensembles conventionnés, de la Région Provence-Alpes-Côte d’Azur, du Conseil général des Bouches-du-Rhône et de la Ville de Marseille. Il est membre de la FEVIS (Fédération des ensembles vocaux et instrumentaux spécialisés). www.crab-paca.org Remerciements particuliers à Agnès T. Director Alain Brunet Executive Producer for Ambronay Éditions Isabelle Battioni Assistant Charlotte Lair de la Motte Recorded in the abbatial church of Ambronay (France) — 23-26th May 2010 Recording Producer, mixing Tritonus Musikproduktion GmbH, Stuttgart (Germany) Cover photograph & design Benoît Pelletier, Diabolus — www.diabolus.fr Booklet graphic design Ségolaine Pertriaux, myBeautiful, Lyon — www.mybeautiful.fr Booklet photo credits Bertrand Pichène Printers Pozzoli, Italy & © 2010 Centre culturel de rencontre d’Ambronay, 01500 Ambronay, France – www.ambronay.org Made in Europe Tous droits du producteur phonographique et du propriétaire de l'œuvre enregistrée réservés. Sauf autorisation, la duplication, la location, le prêt, l'utilisation de ce disque pour exécution publique et radiodiffusion sont interdits. -
La Venexiana / Claudio Cavina
La Venexiana / Claudio Cavina roberta mameli, soprano [rm] emanuela galli, soprano [eg] francesca cassinari, soprano [fc] Cristiano Contadin, viola da gamba [ct] Gabriele Palomba, lute [gp] Marta Graziolino, harp [mg] Davide Pozzi, harpsichord [dp] 5 Recorded in Pinerolo (Chiesa di S. Giovanni), Italy, in August 2009 Engineered by Matteo Costa Produced by Claudio Cavina Executive producer and editorial director: Carlos Céster Editorial assistance: María Díaz Art direction and design: Valentín Iglesias © 2011 MusiContact GmbH Luzzasco Luzzaschi (c.1545 -1607) Concerto delle Dame Madrigali per cantare et sonare a 1, 2, 3 soprani (1601) 1 Aura soave [rm, mg] 3:49 2 O primavera gioventù dell’anno [fc, ct, gp, dp] 3:15 3 Ch’io non t’ami cor mio [eg, dp] 3:49 1 4 Toccat a [mg] 2:01 5 Stral pungente d’amore [rm, eg, mg, ct, dp] 2:58 6 Deh vieni hormai cor mio [rm, eg, ct] 3:10 7 Cor mio deh non languire [rm, eg, gp, ct, mg] 3:12 8 Io mi son giovinetta [fc, rm, dp] 3:08 2 9 Ricercar e [dp] 1:31 10 O dolcezz’amarissime d’amore [rm, fc, eg, gp, ct, mg, dp] 4:32 11 Troppo ben può [rm, fc, em, gp, ct, mg, dp] 3:58 12 T’amo mia vita [rm, eg, fc, gp, ct, mg, dp] 3:19 3 13 Canzon frances e [dp] 1:25 14 Non sa che sia dolore [rm, eg, fc, gp, ct, mg] 3:02 15 Occhi del pianto mio [rm, eg, fc, gp, ct, mg, dp] 3:11 4 16 Lodovico Agostini : Donna mentre vi mir o [rm, fc, eg, gp, ct, mg, dp] 2:13 5 17 Paolo Virchi : Segu’a rinascer l’aur a [rm, eg, fc, gp, ct, mg, dp] 3:51 Additional Sources 1 Girolamo Diruta, Il Transilvano, parte i, 1593 2 Girolamo Diruta, Il Transilvano, parte ii , 1609 3 Luzzasco Luzzaschi , Canzoni per sonare con ogni sorta di strumenti, Libro i, 1608 4 Modena, manuscript F1358 5 Paolo Virchi , Il primo libro dei madrigali a cinque voci , 1584 English English would find the ideal terrain for perfecting herself in Giulio Caccini – were acting as emissaries for the Luzzasco Luzzaschi and as an instrumentalist it was the study of singing and of the viol.