DOCSLIB.ORG

SM349 CD Beat Duddeck & Enselble Schirokko-Book-Lay03.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SM349 CD Beat Duddeck & Enselble Schirokko-Book-Lay03.Indd O LUX BEATA TRINITAS Norddeutsche Kantaten des Frühbarock für Altus, Streicher und Basso continuo Beat Duddeck Ensemble Schirokko Hamburg O Lux Beata Trinitas Beat Duddeck Altus / Countertenor Norddeutsche Kantaten Rachel Harris Violine / violin (Anon Italien Anfang 17. Jhd) Beat Duddeck Bratsche / viola (Anon Sachsen, 19. Jhd) Ensemble Schirokko Hamburg Altgambe / alto viol (Jörn Erichsen, Bad Gandersheim 2008) 01 Herr, wenn ich nur dich habe 11:15 Adam Lord Violine / violin (Henry Jay ca. 1730) (Manuskript Uppsala ca. 1670) David Pohle 02 O du allersüßester und freundlichster Herr Jesu 6:53 Ilja Dobruschkin Bratsche / viola (Kopie nach Stradivarius (1719) von R. Paesold 1989) (Gedr. Königsberg 1646) Christoph Werner 03 Paduana à 5 in g 5:00 Barbara Messmer Viola da Gamba / viol (Kopie von Guillaume Barbey, von David Rubio) (Hamburg 1667) Dietrich Becker Laura Frey Violone in G / G-violon (Anon Böhmen 19. Jhd) 04 Ecce Domine 9:22 (Gedr. Hamburg 1661) Augustin Pfleger Dennis Götte 14-chöriger Chitarrone (Lars Jönsson, 1994) 05 Vater unser, der du bist im Himmel 7:08 14-chörige Erzlaute / arciliuto (Lars Jönsson, 2004) (Manuskript Uppsala ca. 1670) Christian Geist 06 Ego dormio 5:05 Detlef Bratschke Truhenorgel mit Bassturm / organ (Henk Klop 1997) (Gedr. Königsberg 1646) Christoph Werner 07 Was betrübst du dich, meine Seele 5:07 (Gedr. Dresden 1665) Christoph Bernhard Produced by Beat Duddeck 08 Sonata à 5 in C 5:24 Recording Producer, Editor, Engineer & Mastering: Andreas Werner, Silencium Musikproduktion (Manuskript Uppsala ca. 1670) David Pohle Recorded at Kirche St Godehard, Hildesheim, 09 O lux beata Trinitas 6:23 5.–7. November 2019 (Gedr. Königsberg 1646) Christoph Werner Photos: Cover: Roberto Catarinicchia, unsplash.com Künstler: Beat Duddeck © Kea Radons 10 Da namen sie den Leichnam Jesu – O Traurigkeit, O Hertzeleid! 7:55 Ensemble Schirokko © Chris Reiner (Manuskript Uppsala ca. 1670) Christian Geist Konzertauftritte: © Ilja Dobruschkin Total Time 69:38 Artwork & Layout: CC.CONSTRUCT, Barbara Huber Executive Producer Solo Musica: Hubert Haas 2 3 O Lux Beata Trinitas (2) O du allersüßester und freundlichster Herr Jesu, o du holdseligster Herr, was ist doch schöners Norddeutsche Kantaten des Frühbarock und süßers, denn in der Finsternis und vielfältigen Bitterkeit dieses Lebens der göttlichen Trau- Beat Duddeck rigkeit begierig zu sein und ein seufzend Verlangen zu haben nach der ewigen Seligkeit, auch Ensemble Schirokko Hamburg mit dem Gemüte dort hoffen, da gewißlich die wahren Freuden sind. Ach, wann werde ich dahin kommen, wann werde ich doch einmal vor deinem Angesichte er- scheinen, wann werde ich von deiner Schönheit satt werden? Wann wirst du mich aus diesem (1) Finstern führen, dass ich lobe deinen Namen und ferner kein Verdruss noch Leid erfahre? Wann Herr, wenn ich nur dich habe, so frage ich nichts nach Himmel und Erde. Wenn mir gleich Leib werde ich hin gehen zu jenem verwunderlichen und deinem allerschönesten Hause, da die Stim- und Seele verschmacht, so bist Du doch, Gott, allezeit meines Herzens Trost und mein Teil. me der Freude und Frohlockung erklinget in den Hütten der Gerechten? (Ps. 73, 25-26) Wohl denen, o Herr, die in deinem Hause wohnen, die loben dich immerdar, Sela. Ich habe gnug im Himmel und auf Erden, der beste Schatz, der einem nur kann werden, das höchste Gut, der starke Gott ist mein – wer wollte nicht mit Gott vergnüget sein? (4) Ecce Domine, mensurabiles posuisti dies Siehe, Herr, du hast meinen Tagen ihr Maß zu- Ich habe gnug, was kann der Himmel geben, wo Du nicht bist, o süßes Seelen Leben. Was ist‘s, meos et substantia mea tanquam nihilum gemessen und mein Leben ist wie nichts vor dass mich auf Erden laben kann –wenn ich dich nicht, o Schönster, schaue an. ante te; verumtamen universa vanitas omnis dir; gleichwohl ist jeder lebende Mensch nur Ich habe gnug, hinweg mit andren Schätzen, was kann der Staub, der stolzen Welt ergötzen, homo vivens. (Ps. 38,6) ein Hauch. o Eitelkeit! kömmt Not und Tod herbei, so siehet man, wie alles nichtig sei. In imagine pertransit homo et frustra contur- Als ein Trugbild geht der Mensch vorbei und Ich habe gnug, trotz dem, der mir tu wieder, mein treuer Schütz schlägt Neid und Feinde nieder. batur; thesaurizat et ignorat cui congregabit. sorgt sich umsonst, er rafft zusammen und Er ists, der mich im Herzeleid erfreut; in meinem Gott hab ich die Seeligkeit. Amen. (Ps. 38, 7) weiß nicht, wer es einheimst. 4 5 Avarus non impletur pecunia et qui amat divi- Der Habgierige wird vom Geld nicht satt und Libera me Domine, quoniam conturbata sunt Errette mich, Herr, denn meine Glieder sind tias fructum non capiet ex eis. (Eccl. 5,9) wer Reichtum liebt, wird keinen Nutzen dar- ossa mea et anima mea turbata est. Sana me, zerfallen und meine Seele ist verstört. Heile aus haben. Domine, quoniam infirmus sum. (Ps. 6,3) mich, Herr, denn ich bin schwach. Et hoc est vanitas, sicut enim egressus est de Und das ist die Eitelkeit, wie er nämlich aus Convertere, Domine, et eripe animam meam; Herr, wende dich zu mir und errette meine utero matris suae, sic revertetur et nihil aufe- der Mutter Leib herausgegangen ist, so wird salvum me fac Domine propter misericordi- Seele, hilf mir, Herr, um deines Mitleids wil- ret pro labore suo. (Eccl. 5,14) er zurückgehen, und wird nichts für seine Ar- am tuam. (Ps. 6,5) len! beit bekommen. Miserabilis prorsus infirmitas hominis: quo- Ganz elend ist die Schwäche des Menschen, modo venit, sic revertetur et nihil auferet pro wie er gekommen ist, so wird er zurückkehren labore suo. (Eccl. 5,14) und wird für seine Arbeit nichts wegtragen. (5) Quid ergo prodest ei, quod laboravit in ven- Was also nützt es ihm, wenn er sich für den Vater unser, der du bist im Himmel, geheyliget werde dein nahme. Zukomme dein reich, dein tum, (Eccl. 5,15) quid prodest ei, si univer- Wind anstrengt? Was nützt es ihm, wenn er wille gescheh, wie im Himmel also auch auf Erden. Unser täglichs brot gib uns heut und verlas sum mundum lucretur et animae detrimen- die ganze Welt gewönne und Schaden an sei- uns unsere schuld, als wir verlaßen unsern schuldigern. tum patietur, quid prodest ei? (Matth. 16, 26) ner Seele nähme? Was hat er davon? Und führ uns nicht in versuchung, sondern erlöß uns von dem ubel. Denn dein ist das reich und Quae ergo expectatio mea nonne Dominus, Worauf also soll ich hoffen, wenn nicht auf die kraft und die herligkeit von Ewigkeit zu Ewigkeit. (Matth. 6, 9-13) (Ps. 38, 8) tu ergo Domine exaudi oratio- den Herrn? Also, Herr, höre mein Gebet, nei- nem meam, auribus percipe lacrymas meas, ge deine Ohren zu meinen Tränen, denn ich quoniam advena ego sum et peregrinus sicut bin ein Gast bei dir, ein Fremdling wie meine patres mei. (Ps. 38,13) Väter. 6 7 (6) (9) Ego dormio, et cor meum vigilat. Vox dilecti Ich schlafe, aber mein Herz hält Wache. Die O lux beata Trinitas et principalis Unitas, iam O glückseliges Licht der Dreieinigkeit und mei pulsantis: Aperi, aperi mihi, soror mea, Stimme meines Freundes, der anklopft: Öff- sol recedit igneus, infunde lumen cordibus. vornehmste Einheit, wenn jetzt die feurige amica mea, columba mea, immaculata mea, ne, öffne mir, meine Schwester, meine Freun- Sonne versinkt, gieße dein Licht in die Herzen quia caput meum plenum est rore, et cincinni din, meine Taube, meine Vollkommene, denn ein. mei guttis noctium. mein Haupt ist voll Tau, und meine Locken Te mane laudum carmine, te deprecemur Dich wollen wir morgens mit Lobgesang, dich voller Tropfen der Nacht. vespere; te nostra supplex gloria per cuncta wollen wir abends preisen; dich soll unser Expoliavi me tunica mea, quomodo induar Ich habe mein Kleid ausgezogen, wie soll ich laudet saecula. demütiges Loblied durch alle Zeiten verherr- illa? Lavi pedes meos, quomodo inquinabo es wieder anziehen? Ich habe meine Füße lichen. illos? gewaschen, wie soll ich sie wieder besudeln? Deo Patri sit gloria ejusque soli Filio cum Ehre sei Gott Vater und seinem einzigen Sohn Dilectus meus misit manum suam per fora- Mein Freund steckte seine Hand durchs Rie- Spiritu Paraclito, nunc et per omne saeculum. gleichwie dem tröstenden Geist, jetzt und men, et venter meus intremuit ad tactum ejus. gelloch, und mein Innerstes zitterte vor sei- Amen. durch alle Zeiten. Amen. (Cant.C. 5, 2-4) ner Berührung. (10) (7) Da namen sie den Leichnam Jesu, der abgenommen war, und wickelten ihn in ein rein Leinwand Was betrübst du dich, meine Seele, und bist so unruhig in mir? Harre auff Gott, denn ich werde und bunden ihn mit reinen Tüchern und mit den Specereyen wie die Jüden pflegen zu begraben. Ihm noch danken, daß er meines Angesichtes hülffe und mein Gott ist. Was betrübst du dich, Es war aber an der Stätte, da er gecreutziget ward, ein Garte, und in dem Garten ein neu Grab, meine Seele? (Ps. 42, 6) das war Josephs, welches er hatte laßen hauen in einen Felsen, in welches niemand je gele- get war. Daselbst hin legten sie Jesum umb des Rüsttags willen der Juden, dass der Sabbath anbrach und das Grab nahe war und weltzeten einen großen Stein für die Thür des Grabes und gingen davon. (Joh. 19,40-42) 8 9 O Traurigkeit! O Hertzeleid! Ist das nicht zu beklagen? Gottes Vatters einigs Kind wird ins Grab Beat Duddeck getragen. Singen ist für mich von Anfang an Sprache und Leben, Religion und Emotion. Seit ich als Kind mit O große Noth! Gott selbst liegt todt. Am Creutz ist Er gestorben, hat dadurch das Himmelreich meiner Mutter sang, im Kinder- und Jugendchor Konzert und Oper kennenlernen durfte – auch uns aus Lieb erworben. solistisch als Knabe in meiner Heimatstadt Braunschweig –, erlebe ich das Singen als das mir gemäße Mittel, mich des Alltags zu entheben und mir die Welt zu erschließen.
Load more

Recommended publications
  • Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
    Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht.
    [Show full text]
  • Document Cover Page
    A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • 5048849-8Db3fc-3760127224426 01
    BUXTEHUDECANTATES POUR VOIX SEULE MANUSCRITS D’UppSAlA 1. Franz Tunder (1614-1667) Ach Herr, lass deine lieben Engelein 7‘00 (Uppsala universitetsbibliotek (S-Uu) - The Düben Collection - Vok. mus. i hs. 38:3) 2. Dietrich Buxtehude (1637-1707) Dixit Dominus - BuxWV 17 9‘29 (Uppsala universitetsbibliotek (S-Uu) - The Düben Collection - Vok. mus. i hs. 50:8) 3. Anonyme Sonata a 3 viole da gamba 8‘29 (Uppsala universitetsbibliotek (S-Uu) - The Düben Collection - Instr. mus. i hs. 11:5) 4. Johann Philipp Förtsch (1652-1732) Aus der Tiefen ruf ich Herr zu dir 8‘21 (Staatsbibliothek zu Berlin - Preußischer Kulturbesitz (D-B) - Mus.ms. 6472 (24)) 5. Dietrich Buxtehude Sonata VI d-Moll, opus 1 - BuxWV 257 9‘25 (VII. Suonate a doi, Violino & Violadagamba, con Cembalo, Opera Prima, Hamburg 1696) 6. Dietrich Buxtehude Sicut Moses - BuxWV 97 7‘39 (Uppsala universitetsbibliotek (S-Uu) - The Düben Collection - Vok. mus. i hs. 51:26) 7. Gabriel Schütz (1633-1710/11) Sonata a 2 viole da gamba 6‘23 (Durham, The Cathedral Library (GB-DRc) - MS D4 No9) 8. Christian Geist (ca.1650-1711) Resurrexi adhuc tecum sum 3‘53 (Uppsala universitetsbibliotek (S-Uu) - The Düben Collection - Vok. mus. i hs. 26:13) 9. Dietrich Buxtehude Herr, wenn ich nur dich hab - BuxWV 38 4‘42 (Uppsala universitetsbibliotek (S-Uu) - The Düben Collection - Vok. mus. i hs. 06:11) 2 TRACKS 2 PLAGES CD La Rêveuse Maïlys de Villoutreys, soprano Stéphan Dudermel, violon (2-4-5-6-8-9) Fiona-Emilie Poupard, violon (2-6-8-9) FLORENCE BOLTON & BENJAMIN PERROT Florence Bolton, dessus (1) & basse de viole (2 à 9) Andreas Linos, ténor de viole (1) La Rêveuse tient à remercier : 1.
    [Show full text]
  • Routes to the Düben Collection the Acquisition of Music by Gustav Düben and His Sons
    Prejeto / received: 6. 5. 2015. Odobreno / accepted: 18. 6. 2015 ROUTES TO THE DÜBEN COLLECTION THE ACQUISITION OF MUSIC BY GUSTAV DÜBEN AND HIS SONS LARS BERGLUND Uppsala University Izvleček: Razprava opisuje, na kakšne načine so Abstract: The article describes the practices of prihajale muzikalije v Dübnovo zbirko. Glasbo acquisition of music behind the Düben Collec- so zanjo prepisovali iz tiskov, so pa tudi iz ra- tion. Music was copied into manuscripts from znih predelov Evrope pridobivali cele skupine prints, but was also obtained in the form of rokopisnih prepisov. Zdi se,da so bila tesna groups of manuscripts from different regions of osebna prijateljstva in zasebne mreže pri tem Europe. Close personal contacts and networks pomembnejše kot uradne tržne poti. seem to have been more important than tradi- tional trade routes. Ključne besede: Dübnova zbirka, 17. stoletje, Keywords: Düben Collection, seventeenth cen- glasba na Švedskem, razširjanje glasbe, zbirke. tury, music in Sweden, dissemination, music collections. Musical-cultural interchange and the transfer of music and musical cultures constitute in effect an exchange of knowledge, skills and values. In early modern Europe music travelled across the continent, being adopted, imitated and integrated in local contexts, often in cross-fertilization with local practices. Encounters with new and foreign sounds could be uncritically embraced – or resisted and rejected – but they always led to some kind of transformation of attitudes to listening, playing, composing or otherwise inter- acting with music. Even though transnational and transcultural interchange effectively entailed mental transformations of this kind, cultural transfer had in some way or other to be mediated by material means – by the transfer of material objects such as music prints or manuscripts, instruments or educational treatises: a transfer basically carried out by humans, who might be migratory musicians, postal carriers, shippers or couriers.
    [Show full text]
  • Es Erhub Sich Ein Streit Im Himmel Festmusik Der Hansestädte Zum Michaelistag
    Schirmherr: Jan Lindenau, Bürgermeister der Hansestadt Lübeck und Vormann der Hanse Es erhub sich ein Streit im Himmel Festmusik der Hansestädte zum Michaelistag In Kooperation mit Die Debüt-Tournee des Grußwort Europäischen Hanse-Ensembles Dienstag, 29. September 2020, 18 und 20 Uhr Das gemeinsame Musizieren ist für viele ein fester Lübeck, Dom zu Lübeck Bestandteil ihres Alltags. Musik ist nicht nur für das per­ sönliche Wohlbefinden äußerst wichtig, sondern sie ver­ bindet Menschen – auch über Grenzen hinweg. Mittwoch, 30. September 2020, 19 Uhr Hamburg, Hauptkirche St. Nikolai Der Städtebund DIE HANSE hat sich die Aufgabe gestellt, auf der Grundlage des grenzüberschreitenden Hanse­ Donnerstag, 1. Oktober 2020, 18 und 20 Uhr gedankens und der gemeinsamen geschichtlichen Er­ Bremen, Kulturkirche St. Stephani fahrungen den Geist der europäischen Hansestädte und Gemeinden wiederzubeleben, das Eigenbewusstsein der Hansestädte und Gemein­ den zu fördern und die Zusammenarbeit zwischen ihnen zu entwickeln. Die mittel­ Sie können das heutige Konzert und eine Reportage über das alterliche Hanse hat nicht nur Handel und Politik im Norden Europas über mehre­ Projekt am 19. Oktober 2020 ab 20 Uhr auf NDR Kultur hören. re Jahrhunderte geprägt, sie hatte auch maßgeblichen Einfluss auf das kulturelle Zusammenleben und nicht zuletzt die Musik der damaligen Zeit. Das Europäische Hanse­Ensemble widmet sich diesem spannenden Kapitel europäischer Musik­ geschichte und lässt in seinen Konzerten das musikalische Erbe der Hansezeit wie­ der lebendig werden. Und genau wie damals spielt auch heute der grenzüberschreitende Austausch eine wesentliche Rolle: Bestehend aus internationalen Nachwuchsmusiker:innen formiert sich das Europäische Hanse­Ensemble jedes Jahr neu. Auf der diesjährigen Konzert­ reise trägt das Ensemble die „Festmusik der Hansestädte zum Michaelistag“ in ver­ schiedene Hansestädte und feiert so klangvoll das gemeinsame Kultur erbe.
    [Show full text]
  • Buxtehude and His Circle Theatre of Voices, Paul Hillier Buxtehude CHRISTIAN GEIST (C
    Buxtehude and his Circle Theatre of Voices, Paul Hillier Buxtehude CHRISTIAN GEIST (c. 1650-1711) 1 Dixit Dominus Domino meo �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5:49 and his Circle for soprano, countertenor, tenor, bass, 2 violins, cello, violone and organ Theatre of Voices DIETRICH BUXTEHUDE (c. 1637-1707) 2 Jesu, meine Freude, BuxWV 60 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 11:27 for soprano, mezzo, bass, 2 violins, bassoon and organ Else Torp, soprano NICOLAUS BRUHNS (1665-1697) Hanna Kappelin, soprano 4 - 6 3 De profundis clamavi � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 11:55 Kristin Mulders, mezzo-soprano for bass, 2 violins, cello, violone and organ Daniel Carlsson, countertenor 1 Johan Linderoth, tenor FRANZ TUNDER (1614-1667) Adam Riis, tenor 4 4 Dominus illuminatio mea� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9:04 Jakob Bloch Jespersen, bass for 2 sopranos, mezzo, tenor, bass, 2 violins, cello and organ Jesenka Balic Zunic, violin Karolina Radziej, violin CHRISTIAN GEIST Rastko Roknic, viola 5 Die mit Tränen säen �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 10:01 Gabriel Bania, viola for 2 sopranos, mezzo, tenor, bass, 2 violas, cello, violone and organ Mime Yamahiro-Brinkmann, cello DIETRICH BUXTEHUDE Lars Baunkilde, violone Monika Fischaleck,
    [Show full text]
  • ACRONYM Program Notes
    PROGRAM NOTES The Düben Collection consists of approximately 2300 music manuscripts assembled by, and named after, a family of composers who served in succession as Kapellmeisters (literally, chapel masters; the directors of music) to the Royal Swedish Court in Stockholm. The largest contributor to the collection was Gustaf Düben the Elder (1628 - 1690). Others included his father, Andreas (1597 - 1662), and his sons, Gustaf the Younger (1659 - 1726) and Anders the Younger (1673 - 1738). The latter donated the collection to Uppsala University Library where it remains today. The Düben Collection contains both instrumental and vocal music, and the vocal music is primarily sacred. Most of the compositions in the collection are by Germans and Austrians and set to Latin or German texts, although a smattering of works are by composers from France, Italy, and elsewhere. In addition, several Swedish composers, including members of the Düben family, set a number of Swedish texts. Some major works, such as opera excerpts by Lully and chamber cantatas by Buxtehude, are found in Swedish translation. Much of the music within the archive is unique, and the vast majority of it has been neither published in modern editions nor recorded. ACRONYM previously scoured the collection for sonatas that can now be heard on our Bertali and Wunderkammer recordings, and while doing so, our interest was piqued by this unmined treasure trove of 17th-century music. This performance consists of some of the most beautiful and fascinating works found within the Düben Collection, and it is likely the first time any of this repertory has been heard in hundreds of years.
    [Show full text]
  • Viol in Oxford Music Online Oxford Music Online
    14.3.2011 Viol in Oxford Music Online Oxford Music Online Grove Music Online Viol article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/29435 Viol [viola da gamba, gamba] (Fr. viole ; Ger. Gambe ; It. viola , viola da gamba ). A bowed string instrument with frets; in the Hornbostel-Sachs system it is classified as a bowed lute (or fiddle). It is usually played held downwards on the lap or between the legs (hence the name ‘viola da gamba’, literally ‘leg viol’). It appeared in Europe towards the end of the 15th century and subsequently became one of the most popular of all Renaissance and Baroque instruments and was much used in ensemble music ( see CONSORT and CONTINUO ). As a solo instrument it continued to flourish until the middle of the 18th century. In 18th- and 19th-century American usage the term BASS VIOL was applied to a four-string instrument of the violin family. 1. Structure. During its history the viol was made in many different sizes: pardessus (high treble), treble, alto, small tenor, tenor, bass and violone (contrabass). Only the treble, tenor and bass viols, however, were regular members of the viol consort. The pardessus de viole did not emerge until the late 17th century, and the violone – despite its appearance in the 16th century – was rarely used in viol consorts. The alto viol was rarely mentioned by theorists and there is some doubt as to how often it was used. Two small bass instruments called ‘lyra’ and ‘division’ viols were used in the performance of solo music in England ( see LYRA VIOL and DIVISION VIOL ).
    [Show full text]
  • AMS/SMT 2014: Seventeenth-Century Events in the Land of Beer and Polka by Anita Hardeman and Maria Virginia Acuña
    The NewsletterNewsletter ofof the SocietySociety for for Seventeenth-Centur Seventeenth-Centuryy Music Music Vol.Vol. 24, 23, No. No. 1, 2, SpringSpring 20152014 AMS/SMT 2014: Seventeenth-Century Events in the Land of Beer and Polka by anita hardeman and maria virginia acuña he call to polka rang out frequently at teenth century, concluding that these detailed whether collegium- or classroom-focused, this year’s American Musicological engravings were meant to help purchasers un- and the significance of dance. TSociety meeting as Baroque musicol- derstand the music within a mimetic context, A full Saturday morning session was ogists, eager to hear the latest research from providing visual imagery illustrative of the devoted to sacred music. Ireri E. Chávez- their colleagues, hurried back and forth be- musical contents. Bárcenas demonstrated that the Catholic tween the Milwaukee Convention Center and The intrepid scholar of seventeenth- Church deliberately sought to include the di- the Milwaukee Hilton via the infamous century music was faced some decisions on verse ethnic groups of Puebla de los Angeles “polka escalator.” This year’s meeting, held Friday afternoon. That afternoon’s concert (Mexico) in the text and music of a set of jointly with the Society for Music Theory featured Robert Crowe, performing with Il Christmas villancicos by Gaspar Fernández. (SMT) in blustery Milwaukee, WI, included Furioso (Victor Coelho and David Dolata, Cesar Favila explored novohispanic convent a wide variety of papers of interest to SSCM theorbos, and Neil Cockburn, organ). Crowe music of the Puebla, illuminating racial and members. A robust number of presentations lent his striking soprano voice to a perfor - social issues surrounding aspiring nuns and spread throughout the conference provided a mance of Restoration solo motets, where their music.
    [Show full text]
  • Music in a Time of War the Efforts of Saxon Prince Johann Georg II to Establish a Musical Ensemble, 1637–1651
    Music in a Time of War The Efforts of Saxon Prince Johann Georg II to Establish a Musical Ensemble, 1637–1651 MARY E. FRANDSEN mong cultural historians, Elector Johann Georg II of Saxony (r. 1656–1680) is primarily A remembered today for his cultivation of elaborate court festivals and a lavish musical life at the Dresden court throughout his twenty-four-year reign1. His predilection for Italian music is well known, as is his success in assembling a glittering band of Italian virtuosi, in- cluding castrati, to form the artistic core of his expansive Hofkapelle, or court musical en- semble. Although German musicians far outnumbered the Italians in this group, the latter dominated the ensemble, and served as the principal soloists in the vast repertoire of sacred concertos and liturgical settings composed for the court worship services by the Italian Ka- pellmeisters, Vincenzo Albrici (1631–1690/96) and Giuseppe Peranda (ca. 1625–1675), who served as court composers. With a membership that numbered between forty-five and fifty- five musicians at any given time, the Hofkapelle of Johann Georg II was among the largest in northern Europe, and compared in its size and ethnic composition to similar establishments at the courts of Vienna and Munich. With this ensemble and its composers, Johann Georg II introduced major changes in the musical repertoire performed at the court after the death of his father, Elector Johann Georg I (r. 1611–1656). Like his father, the patron of Heinrich Schütz, Johann Georg II played an important role in the development of sacred music in sev- enteenth-century Germany, but his privileging of music in the modern Italian style meant that his patronage had a distinctly different impact on the musical landscape.
    [Show full text]
  • Musik Zur Fastenzeit Program Notes
    PROGRAM NOTES Most of the compositions for “Musik zur Fastenzeit: German 17th-Century Music for Lent,” commemorate the Lutheran Holy Week, the most solemn portion of the Church Year—and in particular, Good Friday. Te others are meditations on the end of life. Although only a small fraction of it is ever performed nowadays, German sacred music of the early Baroque era was once a mighty mainstream. Tonight’s concert explores the century before Bach, offering works by composers skilled in the rigorous, classical techniques of counterpoint. Tese musicians were also strongly committed to the new principle of musical rhetoric, wherein melody, harmony, and rhythm—when joined to a vocal text—embody and amplify every nuance of meaning and feeling in the lyrics, whether sacred or profane. Our program also celebrates an ensemble sound much favored in17th-century Germany: the distinctively hued scoring of one or two voices in combination with viols. Samuel Capricornus is known also by his German name “Bockshorn.” He led a short and rather dreary existence that began in Bohemia; his family soon fled to Hungary to escape persecution and the devastation of the Tirty Years War. He held various posts in Germany, eventually attaining the prestigious position of Kapellmeister to the Württemberg court at Stuttgart. O Traurigkeit, published in 1660, is from Zwey Lieder von dem Leyden und Tode Jesu (Two Songs on the Suffering and Death of Jesus). Te text is by the Jesuit priest, Friedrich Spee von Langenfeld (1591-1635), a poet, hymn writer, and humanitarian best known for his heroic stand against the prevailing witch mania.
    [Show full text]
  • The Role of Heinrich Schütz and Silesian Musicians in The
    The Role of Heinrich Schütz and Silesian Musicians in the Dissemination of the Repertoire of the Polish Royal Chapel led by Marco Scacchi in Silesia, Saxony and Thuringia Barbara Przybyszewska-Jarmin´ ska he Italian ensemble, employed at the court of Polish kings from 1595, was organised and main- T tained at a very high cost by King Sigismund III Vasa (who reigned during the years 1587 – 1632), and then by his sons Ladislaus IV (1632 – 1648) and John II Casimir (1648 – 1668). From its begin- nings the ensemble drew the attention of foreign diplomats and proba bly other visitors to the Common- wealth of Poland and Lithuania1. For musicians who be longed to it the decision to leave Italy for a country that was distant, cold, and not infre quently described as barbarian, meant a chance to earn a relatively large sum of money. For the most prominent, renowned composers it also posed a risk of »dropping out« of the mar ket and being forgotten in their homeland2. During the initial period of Sigismund’s ensemble, its chapel master was Annibale Stabile, recruited in Rome by special royal envoy Krzysztof Kochanowski. After Stabile left the Eter nal City, all trace of him was lost and the approximate date of his death was established from sources discovered only towards the end of the twentieth century 3. In fact the musician died in the spring of 1595, either during his journey to Poland or immediately following his arrival in Kraków. It was also only recently that details have come to light about the circumstances of the departure of the king’s next chapel master, Luca Marenzio4.
    [Show full text]