Music from the French Tradition
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Transmissões Antena 2
Maio 20 TRANSMISSÕES ANTENA 2 CONCERTOS ANTENA 2 DIA 6 19h00 Liceu Camões, Lisboa * José Soares (sax). João Grilo (pn) DIA 18 19h00 MNAA, Lisboa Lançamento do CD - Sons da Minha Terra * Pedro Emanuel Pereira (pn) TEATRO SEM FIOS DIA 5 19h00 A Reviravolta de Almeida Faria Maio 20 1 Sexta ●00H00 | RAÍZES Inês Almeida ●01H00 | MÚSICA HOJE Miso Music Portugal Uma emissão dedicada à divulgação de edições recentes de música electroacústica do compositor João Castro Pinto. Música Hoje apresentará Hiante, uma edição em livro-CD de poesia electroacústica com ilustrações, poemas e voz de Sofia A. Carvalho, ao lado de música e ilustrações de João Castro Pinto, publicado pela Grimaces Éditions (Suíça). Neste programa ouviremos ainda outras criações deste compositor editadas recentemente, incluindo obras do seu novo trabalho monográfico de soundscape composition intitulado The No Land Soundscape, uma edição em formato duplo (cassette e download digital) pela editora Australiana Hemisphäre ○02H00 | JAZZ A 2 João Moreira dos Santos / Maria Alexandra Corvela / Luís Caetano / Produção: Cristina do Carmo ●03H04 | ARGONAUTA Jorge Carnaxide Comunicações Globais II ●04H00 | A RONDA DA NOITE Luís Caetano A Vida Breve 04:40 (Luís Caetano) Última Edição 04:45 (Luís Caetano) ●05H00 | NA CORRENTE Pedro Coelho ●06H00 | NOTAS FINAIS João Pedro Wolfgang Amadeus Mozart Concertos p/ dois pianos em mi bemol maior, K.365 e em fá maior, K.242 e Adagio e fuga p/ cordas em dó menor, K.546 * Duo Crommelynck (pn). Orq. de Câmara de Pádua e do Veneto. Dir. Bruno Giuranna ●07H00 -
Programmbuch Festtage Alte Musik Basel
Basel, 23. bis 31. August 2013 Programmbuch Festtage Alte Musik Basel Wege zum Barock – Tradition und Avantgarde um 1600 www.festtage-basel.ch Titel: Pieter Lastman (1583–1633), David im Tempel, 1618, signiert und datiert, Holz, 1 79 cm x 117 cm, Herzog Anton Ulrich-Museum, Braunschweig Zum Geleit Mit der grössten Freude stelle ich der zweiten Edition der Festtage Alte Musik Basel diesen Gruss voran! Die Freude betrifft zuerst die Tatsache, dass die «Kulturstadt Basel» mit sol- chen Ereignissen eine «Fes- tivalstadt» par excellence ist, in der ein hervorragen- des Potenzial an Kreativität herrscht. Grund zur Freu- de ist auch die Bereiche- rung des grossen Gebiets Abdruck mit Quellenangabe erwünscht der Alten Musik, die seit © 2013 Paul Sachers Zeiten einen Verein zur Förderung Basler Absolventen Schwerpunkt des hiesigen auf dem Gebiet der Alten Musik Musiklebens darstellt. Aber Dornacherstrasse 161 A, CH-4053 Basel auch das Auftreten vieler Telefon +41 (0)61 361 03 54 berühmter europäischer En- CH17 0840 1016 1968 0160 3 sembles in Basel, die ohne dieses Festival hier nicht [email protected] zu hören wären, ist sehr lo- www.festtage-basel.ch benswert. Besonders erfreu- Redaktion: Jörg Fiedler, Peter Reidemeister lich ist aber das klare Profil Satz, Gestaltung: Buser, Kommunikation GmbH, Basel des Programms, das höchste Dr. Guy Morin, Regierungspräsident Druck: Druckerei Dietrich AG, Basel Qualität mit der Förderung des Kantons Basel-Stadt des Basler Nachwuchses verbindet: Wer in dieser Stadt Festtage Basel seine Ausbildung durchlaufen und diesem hohen Stan- Geschäftsleitung: Renato D. Pessi Künstlerische Leitung: Peter Reidemeister dard standgehalten hat, der hat es auch verdient, dass er hier mit Engagements zu solchen Ereignissen wei- Preis: 10 Franken terhin Unterstützung erfährt. -
Catalogo 2015
Catalogo 2015 ISTITUTO ITALIANO PER LA STORIA DELLA MUSICA VIA VITTORIA , 6 - 00187 - ROMA (RM) TEL ./F AX (+39) 06.36000146 - WWW.IISM .IT EDIZIONI MUSICALI | MUSICAL EDITIONS Canti Liturgici Ebraici di rito spagnolo del Tempio di Roma Canti Liturgici Ebraici di rito spagnolo del Tempio di Roma , a cura di E. Piattelli e P. Troìa, 2003, 33,80 € pp. 154 Codici Musicali Trentini del Quattrocento a cura di M. Gozzi I. Sequenze , a cura di M. Gozzi, 2012, pp. 360 26,00 € II. I Kyrie di Tr93 , a cura di Antonio Chemotti, 2014, pp. 240 26,00 € Per il piano editoriale: www.iism.it Luigi Boccherini (1743-1805) Prezzo della serie completa: 340,60 € I. Quintetti Op. 10 (da 1 a 6), a cura di P. Carmirelli, 1970, pp. 196 33,80 € II. Quintetti Op. 11 (da 7 a 12), a cura di P. Carmirelli, 1970, pp. 205 33,80 € III. Quintetti Op. 13 (da 13 a 18), a cura di P. Carmirelli, 1972, pp. 178 33,80 € IV. Quintetti Op. 18 (da 19 a 24), a cura di P. Carmirelli, 1972, pp. 201 33,80 € V. Quintetti Op. 20 (da 25 a 30), a cura di P. Carmirelli, 1974, pp. 179 33,80 € VI. Quintetti Op. 25 (da 31 a 36), a cura di P. Carmirelli, 1975, pp. 178 33,80 € VII. Quintetti Op. 27 (da 37 a 42), a cura di P. Carmirelli, 1976, pp. 93 33,80 € VIII. Quintetti Op. 28 (da 43 a 48), a cura di P. Carmirelli, 1977, pp. 215 33,80 € IX. -
Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair
Williams College Department of Music Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair Part 1: Backdrop Lecture-Demonstration by M. Jennifer Bloxam and the Singers of Cappella Pratensis ***Intermission*** Part 2: Royal Exequies Procession to the Church Responsorium: Subvenite sancti Dei Plainsong from the Office for the Dead The Requiem Mass Introitus: Requiem eternam Pierre de la Rue (c.1460-1518) Kyrie Pierre de la Rue Graduale: Si ambulem Plainsong from the Mass for the Dead Tractus: Sicut cervus Pierre de la Rue Offertorium: Domine Jesu Christe Pierre de la Rue Sanctus Pierre de la Rue Agnus Dei Pierre de la Rue Communio: Lux eterna Pierre de la Rue Requiescat in pace Plainsong from the Mass for the Dead Motet: Delicta Juventutis Pierre de la Rue Final Prayers for Absolution Antiphon: Aperite mihi Plainsong from the Burial Liturgy Motet: Absolve quesumus, Domine Josquin des Prez (c.1450/55-1521) Saturday, February 22, 2014 8:00 p.m. Thompson Memorial Chapel Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Cappella Pratensis Artistic leader: Stratton Bull Superius: Stratton Bull, Andrew Hallock Altus: Christopher Kale, Lior Leibovici Tenor: Olivier Berten, Peter de Laurentiis Bassus: Lionel Meunier, Pieter Stas Project collaborator: M. Jennifer Bloxam, Professor of Music,Williams College Fellow in Sacred Music, Worship, and the Arts, Yale Institute of Sacred Music Cappella Pratensis The Dutch-based vocal ensemble Cappella Pratensis – literally ‘Cappella des prés’– champions the music of Josquin des Prez and the polyphonists of the 15th and 16th centuries. The group combines historically informed performance practice with inven- tive programmes and original interpretations based on scholarly research and artistic insight. -
Pierre De La Rue's Missa Pourquoy
Pierre de la Rue’s Missa Pourquoy non: A Case for Re-Evaluation William Kempster he last twenty-five years have yielded The naming of Masses according to the original significant insights into the life, times title of the pre-existing material on which and—most importantly—the music of they were based has long been the accepted the Habsburg-Burgundian master Pierre de la scholarly practice. Honey Meconi has thoroughly T 1 Rue. All the sacred works are now available in documented this for the Masses of la Rue, so no scholarly editions, and many fine recordings of further discussion on conventions relating to the his music have been committed to compact disc. practice is necessary here. What is interesting, La Rue has also attracted a good deal of scholarly however, is the rejection by modern scholars— attention, even controversy, and his place as a Meconi included—of a sixteenth-century major figure at the time of Josquin is now surely ascription indicating that the Mass in question secure. There is still much work to be done, is based on the Pourquoy non chanson, and however, and not only with the secular music that therefore justifying it being named accordingly. has yet to be compiled and edited in its entirety. Even the Masses, the core of la Rue’s output, are only superficially known. Of the thirty In the preface to his edition of this Mass, Mass settings that are securely attributed to la T. Herman Keahey identifies the work as 2 Rue, nearly a third have never been recorded, Missa Almana, and addresses the issue of the and recordings of half of the remaining Masses 1 are either no longer available or problematic for Honey Meconi, “Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming” in Early other reasons. -
TEXAS ARLY MUSIC PROJECT DANIEL JOHNSON, ARTISTIC DIRECTOR E Dutch Treat: the Golden Age in the Netherlands
TEXAS ARLY MUSIC PROJECT DANIEL JOHNSON, ARTISTIC DIRECTOR E Dutch Treat: The Golden Age in the Netherlands PROGRAMMA THE NEW YEAR HET NIEUWE JAAR Met dezen nieuwen Jaar (Guilielmus Messaus, 1589-1640; Cantiones natalitiae, 1629; arr. D. Johnson, 2012) Jenifer Thyssen, Gitanjali Mathur, & Paul D’Arcy, soloists With Voices & Instruments Ave Maria (Nicolas Gombert, c.1495-c.1560) Choir Die werelt hielt mi in haer gewout (chant by Suster Bertken, c.1427–1514; arr. D Johnson, 2005, 2013) Jenifer Thyssen, Gitanjali Mathur, & Jenny Houghton, soloists With Women Singers & Bass Viols THE TAVERN ON THE SQUARE IN THE SPRING DE HERBERG OP HET PLEIN IN HET VOORJAAR Tsat een cleyn meskin (Jacob Obrecht, c.1453-1505) Viol Consort Mijn hert altyt heeft verlanghen (Pierre de la Rue, c.1460-1518) Singers Passe et medio (Tielman Susato, c. 1510 - after 1570; Dansereye; Antwerp; 1551) Viol Consort & Lute Mijn herteken heeft altyts verlanghen (Benedictus Ducis, a.k.a. Benedictus Hertoghs, c.1492-1544) Jenifer Thyssen, soloist, with Viol Concert Bransle Dit le Bourguignon (Anonymous; Harmonice Musices Odhecaton; Venecia, 1501) Instruments Laet varen alle fantasie (Ludovicus Episcopius, c.1520-1595) Singers TORMENT IN THE SPRING LEED IN HET VOORJAAR Nu dobbert mijn Liefje op de Ree (Constantijn Huygens, 1596-1687; arr. D Johnson, 2016) Cayla Cardiff, soloist With Meredith Ruduski & Stephanie Prewitt, and Instruments Miserere mei, Domine (Philippe de Monte, 1521-1603) Choir Super flumina Babylonis (Philippe de Monte) Choir PAUZE FROM SUMMER TO FALL VAN -
Contrapuntal Style: Josquin Desprez Vs. Pierre De La
Contrapuntal Style Josquin Desprez vs. Pierre de la Rue Julie Cumming and Cory McKay with Peter Schubert and Nathaniel Condit-Schultz Pierre de la Rue and Music at the Habsburg-Burgundian Court Mechelen, Belgium, November 23, 2018 Research questions • What musical characteristics distinguish the styles of Josquin and La Rue? • Focusing specifically on duos drawn from masses • How can computational methods help us approach such problems? 2 Josquin Desprez Pierre de la Rue • c. 1450-55 to 1521 • c. 1452 to 1518 • Varied career in France and • Hapsburg-Burgundian Italy chapel, Low Countries and Spain Meconi, Grove: “Despite differences in style, La Rue’s music was probably most strongly influenced by that of Josquin. … There are curious parallels between the works of the two.” 3 Josquin and La Rue: Conflicting attributions according to NJE NJE 3.3: Missa De beata virgine (Josquin) NJE **3.4: Missa Sub tuum presidium (La Rue) NJE **14.13: Si dormiero NJE 20.3: Magnificat Quarti toni 4v NJE *28.2: Ach hülff mich leid NJE *28.10: Dictez moy bergere NJE *28.21: Leal schray tante NJE **28.34: Tous les regretz NJE **29.1: Cent mille regretz NJE **29.9: Incessament mon povre cueur 4 Willem Elders, NJE 4, p. 102, on La Rue’s authorship of Missa Sub tuum presidium “The style of this four-part Mass also argues against Josquin’s authorship. For example, in the Christe, the rhythmic motion and continuous repetition of the main melodic motif in mm. 45-66 lack the vitality characteristic of Josquin. … More generally, even though the score manifests flawless -
Chamber Music for Wind
UT ORPHEUS EDIZIONI Chamber Music Complete Catalogue January 2021 www.utorpheus.com CONTENTS Chamber Music for Strings Quintets with Harp ..........................12 Trios ............................................. 3 Sextets .........................................13 Trios with Piano ............................... 3 Septets ........................................13 Trios with Harpsichord ....................... 3 Nonets .........................................13 Trios with Harp ................................ 4 3 or more Instruments with Continuo .....14 Trios with Guitar .............................. 4 Other Ensembles .............................14 Trio Sonatas .................................... 5 Chamber Music for Mixed Ensembles Quartets ���������������������������������������� 6 Trios ............................................15 Quartets with Piano .......................... 7 Trios with Piano ..............................15 Quartets with Guitar ......................... 7 Trios with Harpsichord ......................16 Quintets ........................................ 7 Trios with Harp ...............................16 Quintets with Piano ��������������������������� 7 Trios with Guitar .............................16 Quintets with Harp ........................... 7 Trio Sonatas ...................................18 Quintets with Guitar.......................... 8 Quartets ���������������������������������������18 Sextets .......................................... 8 Quartets with Piano .........................18 3 -
Nach Konzertreihe Für Alte Musik
Nach Konzertreihe klang für Alte Musik Dieses Konzert wird ab 20.03 Uhr im Programm von Deutschlandfunk Kultur live und bundes- weit gesendet. 1. März 2019, 20.00 Uhr Bitte schalten Sie die Handys aus. Botticellisaal der Gemäldegalerie der Staatlichen Museen zu Berlin bundesweit und werbefrei UKW, DAB+, Kabel, Satellit, Online, App deutschlandfunkkultur.de Programm ‚seltzam art, verkärth, auf frembd manier‘* Klingende Allegorien zwischen Andrea Mantegna und Giovanni Bellini Der Körper der Maria Magdalena und der Jungfrau Maria Der Körper des Heiligen Sebastian Gaudeamus omnes O sancte Sebastiane Alexander Agricola O beate Sebastiane Madre che festi colui che te fece Guillaume Du Fay Innocentius Dammonis O beate Sebastiane veröffentlicht in Petrucci, Laude Libro Primo, Venedig 1508 Johannes Martini Text: Leonardo Giustiniani O beate Sebastiane Madre che festi colui che te fece Gaspar van Weerbeke anonym, Johannes Martini, Johannes Ghiselin, Jean Japart, Heinrich Isaac und Crispinus van Stappen Lauda Kontrafaktur über J’ay pris amours Der Körper Christi O Diva Stella Inkarnation anonym, John Bedyngham Refove unice Lauda-Kontrafaktur über O rosa bella Guillaume Du Fay Vergine bella che del sol vestita Kontrafaktur des Chansons Par le regart Guillaume Du Fay Text: Notker Balbulus Text: Francesco Petrarca Cum jubili d’amore Vergine bella che del sol vestita Innocentius Dammonis Bartolomeo Tromboncino veröffentlicht in Petrucci, Laude Libro Primo, Venedig 1508 Text: Francesco Petrarca Text: Leonardo Giustiniani Passion Der todgeweihte Körper Moderation und Gespräch mit Anima benedeta Dulces exuviae (Didos Lamento) Michael Eissenhauer, Generaldirektor anonym Johannes Ghiselin, Alexander Agricola der Staatlichen Museen zu Berlin: Venedig, Biblioteca nazionale marciana, Ms. ital. IX, 145; 7554 Olaf Wilhelmer Text: Vergil, Aeneid (Buch IV, 651–660) O vos homines qui transite in pena Morte che fay Pere Oriola Heinrich Isaac Zusammenstellung eines Karfreitag-Respronsoriums, Ms. -
The Sources and the Performing Traditions. Alexander Agricola: Musik Zwischen Vokalität Und Instrumentalismus, Ed
Edwards, W. (2006) Agricola's songs without words: the sources and the performing traditions. Alexander Agricola: Musik zwischen Vokalität und Instrumentalismus, ed. Nicole Schwindt, Trossinger Jahrbuch für Renaissancemusik 6:pp. 83-121. http://eprints.gla.ac.uk/4576/ 21th October 2008 Glasgow ePrints Service https://eprints.gla.ac.uk Warwick Edwards Agricola’s Songs Without Words The Sources and the Performing Traditions* In 1538 the Nuremberg printer Hieronymus Formschneider issued a set of part- books entitled Trium vocum carmina1 and containing a retrospective collection of one hundred untexted and unattributed three-voice compositions, six of which can be assigned to Agricola. Whoever selected them and commissioned the publication added a preface (transcribed, with English translation in Appendix pp. 33–4) that offers – most unusually for the time – a specific explanation for leaving out all the words. This turns out to have nothing to do with performance, let alone the possible use of instruments, which are neither ruled in nor ruled out. Nor does it express any worries about readers’ appetites for texts in foreign languages, or mention that some texts probably never existed in the first place. Instead, the author pleads, rather surprisingly, that the appearance of the books would have been spoilt had words variously in German, French, Italian and Latin been mixed in together. Moreover, the preface continues, the composers of the songs had regard for erudite sonorities rather than words. The learned musician, then, will enjoy the -
Recorder Reporter
Recorder Reporter Newsletter of two chapters of the American Recorder Society (ARS), Chicago Chapter & the West Suburban Early Music Society April 2017 Volume 58, Number 8 Chicago Chapter News will start with an hour or two of work on how, where, and Dennis Sherman gallantly directed the March 19 why to articulate with recorder, and then move into the meeting of the Chicago Chapter as a competitive event. workshop theme, “Bad Boys.” The fee will be $65 for members and $75 for non-members. Lunch is on your The members who attended cast a wistful ear toward own, but several restaurants are in walking distance. Byron Colby Barn in Grayslake, where the Chicago Recorder Quartet, Lisette Kielson, Patrick O’Malley, Covenant Presbyterian Church is at 2012 West Dickens Laura Osterlund, and Mirja Lorenz, were performing. Or in the Bucktown neighborhood of Chicago, near Damen maybe they thought about playing in or attending a and Armitage and near exit 47 on the Kennedy. Street concert also on that Sunday afternoon, March 19, at the parking is available, and a lot behind the church on Music Institute of Chicago, “Sing and We Play It,” that Charleston may have spaces. The church is also easily celebrated the 30th anniversary of the MIC Chorale. The accessible by public transportation. Take the Blue line concert also featured their viol da gamba ensemble and elevated train to either Damen or Western Avenue and members of the MIC Recorder Orchestra. walk (www.transitchicago.com), or take either the #49 Western Avenue Bus or the #50 Damen Avenue bus. -
Contrapuntal Style: Pierre De La Rue Vs. Josquin Des Prez
Contrapuntal Style Pierre de la Rue vs. Josquin Des Prez Julie Cumming, Cory McKay, Peter Schubert, Néstor Nápoles López, and Sylvain Margot Submitted for publication in La Rue Studies, ed. David Burn, Honey Meconi, and Christiane Wiesenfeldt Research questions • What musical characteristics distinguish the styles of Josquin and La Rue? • How can computational methods help us approach such problems? 2 Difficult task! Josquin Des Prez Pierre de la Rue • c. 1450-55 to 1521 • c. 1452 to 1518 • Varied career in France and • Hapsburg-Burgundian chapel, Italy Low Countries and Spain Meconi, Grove: “Despite differences in style, La Rue’s music was probably most strongly influenced by that of Josquin. … There are curious parallels between the works of the two.” 11 conflicting attributions to the two composer in the NJE Even experts in the period cannot identify the composer for pieces they don’t know 3 Our corpus: comparing apples to apples Same texture, same genre Duos from securely attributed Masses by the two composers: • 44 duos by La Rue • 33 duos by Josquin Duos are: • The purest form of Renaissance counterpoint, and basic training for composers • Relatively easy to study Most were excerpted from the files in the Josquin Research Project; some of the La Rue duos were transcribed from the La Rue Opera Omnia, with original note values restored Formats: MIDI and MusicXML 4 Three approaches to computer-aided style analysis, plus comparison • Part 1: Vertical intervals and contrapuntal 3-grams (Néstor Nápoles López and Julie Cumming) • Part