DOCSLIB.ORG

Sanja Majer-Bobetko: P Ovijest Glazbe Vjenceslava Novaka

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sanja Majer-Bobetko: P Ovijest Glazbe Vjenceslava Novaka Sanja Majer-Bobetko: P ovijest glazbe Vjenceslava Novaka Zatvorena knjiga simbolizira netaknutu tvar. "Ako je otvorena, tvar je oplođena. Zatvorena knjiga čuva svoju tajnu. Ako je otvorena, onda je onaj koji je čita shvatio njezin sadržaj."1 2 I prva hrvatska Povijest glazbe Vjenceslava Novaka dosad je bila zatvorena knjiga, ne samo u simboličkom smislu. Zatvorena na policama Biblioteke Muzičke akademije u Zagrebu, proglašena izgubljenom,2 ona je čuvala svoju tajnu. Neki njezini dijelovi su doduše ostali tajnom, jer su zasad izgubljeni, ali velik njezin dio je potpuno sačuvan i već samim time što je to prvi pokušaj sintetičkog djela o glazbenoj povijesti u hrvatskoj glazbenoj historiografiji zaslužuje da se otvori. Zaslužuje ona to i stoga što "praktična, ’pozitivna’, realna snaga povijesti baš i stoji u tome", kako reče znameniti Novakov suvremenik i kolega Antun Gustav Matoš, "što je historija vrsta štedionice drevnih energija, koje se baš njenim posredovanjem kao žive sile predaju potomstvu. Sve renesanse, svi preporodi su plod historijskih studija, pa zato ih i mi preporučamo kao glavno sredstvo hrvatskoga preporoda. Jer samo ona snaga umire koja je bez povjesničara."3 4 Vjenceslav Novak pisao je svoju Povijest glazbe u posljednjem desetljeću 19. stoljeća. Budući da na samom rukopisu nema nikakve datacije moguće je aproksimativno odrediti vrijeme njena nastanka, kako na temelju u njoj prezentiranih podataka i relevantnih godina, tako i na temelju rezultata istraživanja što ih je proveo L. Saban u arhivu HGZ-a. Ta su istraživanja jasno pokazala da je ravnateljstvo HGZ-a još 1894. naručilo od Vjenceslava Novaka, tadašnjeg honorarnog profesora teorije na glazbenoj školi, Povijest glazbe. Novak je štoviše dobio godinu dana plaćenog dopusta kako bi se u potpunosti mogao posvetiti pisanju svoga udžbenika. Očito je međutim da to Novak nije učinio tijekom jedne godine. Još 1899. godine pisao je molbu za posudbu knjiga iz knjižnice HGZ-a kako bi dovršio svoju P o v i j e s t i U zapisnicima se taj 1 J. Chevalier-A. Gheerbrant, Rječnik simbola, Nakladni zavod Matice hrvatske, Zagreb 1987, str. 263. 2 Usp. Ladislav Saban, 150 godina Hrvatskog glazbenog zavoda, Hrvatski glazbeni zavod, Zagreb 1982, str. 113. 3 Antun Gustav Matoš, Misli i pogledi, izbor tekstova, indeks i objašnjenja Mate Ujević, drugo izdanje dopunio i priredio Dubravko Jelčić, Globus, Zagreb 1988, str. 311. 4 Na ovom podatku zahvaljujem Nadi Bezić. Molba je pohranjena S. MAJER BOBETKO 2 Croatica 40/41/1993/1994. V je n c e s l a v N o v a k predmet opet javlja 1900. kada stoji da je Novak rukopis dovršio i predao. On međutim nikada nije bio objavljen. Šaban je zaključio da djelo vjerojatno nije zadovoljilo i da ga je Klaić^ jamačno opet dao Novaku na doradu, što on nije stigao učiniti.6 Novakov je rukopis doista bio u rukama barem dvojice recenzenata, što je posve jasno iz njihovih intervencija u samom rukopisu, koji je vrlo trošan, pisan crnom tintom na papiru formata 21x34 cm. Stranice su paginirane i rukopis završava na 237. stranici. Ali, kako je već istaknuto, nije potpun. Osim prve i posljednje nedostaju također dijelovi od 54. do 73. stranice i 218. stranica rukopisa. Novakova Povijest glazbe u takvom je stanju prispjela u biblioteku Muzičke akademije u Zagrebu gdje je 1945. godine inventarizirana i katalogizirana pod brojem 7006. Nažalost u inventarnoj knjizi nema nikakve napomene o načinu na koji je ovaj rukopis postao vlasništvom Muzičke akademije. Nastala desetljeće prije Hadrovićeve Kratke povjesti glazbe objavljene 1911.,7 premda dosad neobjavljena, pa kao što je navedeno, zapravo i nepoznata, ova je P o v ije s t u svakom slučaju, barem koliko je dosad poznato, prvi pokušaj pisanja sintetičkog djela na temu povijesti glazbe u Hrvatskoj pa samim time zaslužuje da bude prezentirana (ne)kritičkom oku javnosti. Pri tom svaka kritička analiza Novakova teksta nesmije zanemariti upravo tu činjenicu. Uz to je bitan kriterij svake valorizacije toga teksta i njegova očita pedagoška namjena. Novakova Povijest glazbe je rukopis bez naslova. Stoga je nemoguće znati što bi sve u tom naslovu stajalo. Možda bi se tu našao, kao kasnije kod Hadrovića, i pridjev k r a tk a (premda je ona daleko iscrpnija od Hadrovićeve) ili već štogod drugo. Budući da je iz samoga djela i iz arhivskih materijala jasno o čemu je riječ, taj podatak držim posve irelevantnim. Bez obzira na naslov koji je imala (ili možda još i nije?) ova Povijest glazbe unatoč (pre)brojnim nepreciznostima opetovano otkriva golemi i nedovoljno istican muzikološki 567 u arhivu HGZ-a pod signaturom 173/99-900. 5 Vjekoslav Klaić bio je član ravnateljstva HGZ-a od 1890. do 1928. Premda nikada nije htio postati predsjednikom, već je djelovao kao "drugi čovjek", Klaić je zapravo profilirao politiku cijelog tog dinamičnog razvoja u povijesti HGZ-a do te mjere da se ono s punim pravom može nazvati Klaićevom erom (Usp. L. Šaban, op. cit., str. 101). 6 Usp. L. Šaban, op. cit., str. 311. 7 Usp. Stjepan Hadrović, Kratka povjest glazbe, Vlastita naklada, Zagreb 1911. S. M a je r B o b e t k o 3 Croatica 40/41/1993/1994. V je n c e s l a v N o v a k potencijal svoga autora. Usuđujem se reći najveći poslije Kuhačeva tijekom Zajčeva i Kuhačeva razdoblja. Konačno, Vjenceslav Novak, glasovit predstavnik hrvatskoga književnog realizma, bio je jedan od onodobnih u nas rijetkih profesionalno glazbeno obrazovanih glazbenih pisaca, teoretičara i skladatelja.8 Upravo je to obrazovanje što ga je stekao u Pragu presudno utjecalo na formiranje njegova profesionalnog habitusa što se, dakako, reflektiralo i u njegovu promišljanju glazbeno teorijskih, estetičkih pa i povijesnih tema. Kao povjesničar glazbe Vjenceslav Novak pokazuje zavidan stupanj poznavanja relevantne literature, s jedne strane, ali i stanovitu originalnost, s druge. Historizam 19. stoljeća nije mimoišao glazbu. Intenzivirana povijesna istraživanja rezultirala su revitalizacijom glazbe ranijih epoha, kako na izvedbenom planu, tako i sve većim brojem muzikoloških radova, pa i povijesnih sinteza. Najrespektabilnije takve opće povijesti su Fćtisova, Ambrosova i Riemannova. U svojoj nedovršenoj Histoire générale de la musique (5 sv., 1869-76) François Joseph Fétis pokušava proširiti etnografske horizonte i izvan granica zapadnoeuropske glazbe, ali dospijeva tek do 15. stoljeća. Osporavajući koncept "progresa" u glazbi Fétis zagovara tezu o promjenama temeljnih glazbenih principa, npr. unutar glazbene forme i tehnike, što nipošto ne implicira i pojam napredovanja u umjetnosti i glazbi. Humanistički obrazovan na Sveučilištu u Pragu, nositelj titule doctor juriš, povjesničar češkog podrijetla August Wilhelm Ambros zasniva svoju* i 8 V. Novak rođen je u Senju 11. 11. 1859., a umro u Zagrebu 20. 9. 1905. God. 1886. na Praškom konzervatoriju stekao je zvanje orguljaša, a 1887. nastavnika pjevanja i teorije glazbe. Od 1887. profesor je glazbe na Muškoj učiteljskoj školi u Zagrebu; uz to 1890-94. predaje teoriju, glazbenu estetiku i povijest glazbe na školi HGZ-a. Sa V. Klaićem izdaje 1892. glazbeni časopis G u sle a 1893. sam časopis G lazba. Četrdesetak članaka i kritika s glazbenom tematikom objavio je i u drugim časopisima različita profila. Autor je prvih udžbenika harmonije na hrvatskom jeziku (Priprava k nauci o glazbenoj harmoniji, 1889, 18982; Nauka o glazbenoj harmoniji, 1890, 18982). Autor je i većeg broja drugih glazbenih priručnika i rasprava: P jeva čka obuka u pučkoj školi, 1892; Pučki učitelj kao učitelj pjevanja i kao orguljaš, 1888; Crtice o razvoju crkvene glazbe, 1889. Također je ritmizirao i harmonizirao pedesetak napjeva iz Citharae octochordae, koje je 1891. objavio u zbirci Starohrvatske crkvene popievke. Bavio se i skladanjem ali je većina njegovih djela izgubljena. S. M a je r B o b e t k o 4 Croatica 40/41/1993/1994. V je n c e s l a v N o v a k Geschichte der Musik (1862-82) na kulturološko-povijesnom stajalištu prema kojemu umjetničko djelo čini dio opće duhovne klime, duha vremena {Zeitgeist). Štoviše, glazbu prošlosti ne bi valjalo suditi prema nepromjenjivom estetskom idealu, već u okvirima "povijesnog razumijevanja". Tretira umjetnost kao organizam koji prirodno raste, razvija se u skladu s prirodnim zakonima, "poput cvijeta iz pupoljka".9 U osnovi Ambrosove humanistički široke vizije stoji međutim njegovo vlastito iscrpno višegodišnje istraživanje. Stoga i nije čudo što svoj golemi projekt u kojemu je poseban akcent na renesansi Ambros nije uspio dovršiti sam. Nakon 3. sveska (1868) 4. su svezak uredili C. F. Becker i G. Nottebohm, a 5. svezak je uredio O. Kade (1882). Langhansova Die Geschichte der M usik des 17. 18 und 1 9 Jahrhunderts (1881-87) zamišljena je ka'o nastavak Ambrosove povijesti. Handbuch der Musikgeschichte (1901-13) autor koje je - kako mnogi drže - najsvestraniji muzikolog svih vremena Hugo Riemann, sjajno je , postignuće glazbene historiografije 19. stoljeća u kojemu je građa manje prezentirana kao povijest pojedinih glazbenih osobnosti i kultura a više kao formalni i stilistički proces. Prema Riemannu čovjekova urođena sposobnost da percipira formu i strukturu bila je konstantan čimbenik u glazbenom iskustvu. Ocrtavanje formalnih i stilističkih procesa, njihovih mijena, njihovih međusobnih odnosa i njihovih veza s unutarnjom logikom tonalne percepcije, koja je, prema Riemannu, imanentna Bečkoj klasici, glavni je zadatak povjesničara. U tom je smislu njegova koncepcija bliska glasovitoj Wolfflinovoj "povijesti umjetnosti bez imena", ili barem takvoj povijesti u kojoj će biografski podaci imati sekundarno značenje. Praškom đaku Vjenceslavu Novaku Ambrosova je povijest dakako poznata i apostrofirana u samom njegovu tekstu (autograf, str. 19, 175). Fetiša i Riemanna kao povjesničare ne poznaje; potonjeg već i zbog vremenske sukladnosti nastanka tih dviju povijesti. Našavši se pred posve konkretnim zadatkom pisanja u d ž b e n ik a , što pretpostavlja spajanje zahtjevnih fundamentalnih informacija iz područja povijesti s praktičnim, odnosno propedeutičkim i metodičkim zahtjevima u samoj pedagoškoj praksi, Novak je posegnuo za posve drugim trima izvorima. Riječ je o tada već afirmiranim sažetim, popularnim povijestima glazbe: 1.
Load more

Recommended publications
  • 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]
  • Les Pseaumes De David (Vol
    CONVIVIUMchoir for renaissance·MUSICUM music Scott Metcalfe, music director Les pseaumes de David (vol. II) Les pseaumes mis en rimes francoise, par Clément Marot, & Théodore de Bèze (Geneva, 1562) Jan Pieterszoon Sweelinck (1562–1621) Claude Le Jeune (c. 1530–1600) Claude Goudimel (c. 1520–1572) Ps. 114 Quand Israel hors d’Egypte sortit 1. Clément Marot (poem) & Loys Bourgeois (tune), Les pseaumes mis en rimes francoise (Geneva, 1562) 2. Jan Pieterszoon Sweelinck, Livre second des pseaumes de David (Amsterdam, 1613) Ps. 127 On a beau sa maison bâtir 1. Théodore de Bèze (poem) & Loys Bourgeois (tune),Les pseaumes mis en rimes francoise 2. Sweelinck, Livre second des pseaumes de David Ps. 130 Du fonds de ma pensée 1. Marot & Bourgeois, Les pseaumes mis en rimes francoise 2. Claude Goudimel, Les 150 pseaumes de David (Paris, 1564) 3. Goudimel, Les cent cinquante pseaumes de David (Paris, 1568) 4. Sweelinck, Livre second des pseaumes de David Sweelinck: Motets from Cantiones sacrae (Antwerp, 1619) De profundis clamavi (Ps. 130) O domine Jesu Christe Ps. 23 Mon Dieu me paist sous sa puissance haute 1. Marot & Bourgeois, Les pseaumes mis en rimes francoise 2. Claude Le Jeune, Les cent cinquante pseaumes de David (Paris, 1601) 3. Le Jeune, Dodecachorde, contenant douze pseaumes de David (La Rochelle, 1598) intermission Ps. 104 Sus sus, mon ame, il te faut dire bien 1. Marot, Les pseaumes mis en rimes francoise 2. Claude Goudimel, Les 150 pseaumes de David 3. Goudimel, Les cent cinquante pseaumes de David 4. Sweelinck, Livre quatriesme et conclusionnal de pseaumes de David (Haarlem, 1621) Le Jeune: Two psalms from Pseaumes en vers mesurez mis en musique (1606) Ps.
    [Show full text]
  • Album Booklet
    Calvin Psalter Calvin Psalter Mon Dieu me paist Verses 1 & 3 harm. Claude Goudimel (c. 1505–1572) harm. Claude Goudimel Psalms by Verse 2 harm. Claude Le Jeune (1528–1600) 14. C’est un Judée (Psalm 76) [0:55] Claude Le Jeune (1528/30–1600) 1. Or sus serviteurs du Seigneur (Psalm 134) [2:20] Claude Le Jeune C’est un Judée (Psalm 76) Calvin Psalter Du dixiesme mode harm. Claude Goudimel 15. C’est un Judée proprement [2:30] 2. Mon Dieu me paist (Psalm 23) [1:10] 16. La void-on par lui fracassez [1:27] The Choir of St Catharine’s College, Cambridge 17. On a pillé comme endormis [1:53] Claude Le Jeune 18. Tu es terrible et plein d’effroi [1:28] Mon Dieu me paist (Psalm 23) 19. Alors ô Dieu! [2:09] Edward Wickham conductor Du quatriesme mode 20. Quelque jour tu viendras trouser [1:58] 3. Mon Dieu me paist [2:21] 21. Offrez vos dons à lui [1:28] 4. Si seurement, que quand au val viendroye [2:57] Calvin Psalter 5. Tu oins mon chef d’huiles [1:46] harm. Claude Goudimel 22. Dés qu’adversité (Psalm 46) [0:59] Calvin Psalter 6. Propos exquis (Psalm 45) [1:01] Claude Le Jeune Dés qu’adversité (Psalm 46) Claude Le Jeune Du neufiesme mode Propos exquis (Psalm 45) 23. Dés qu’adversité nous offense [2:22] Du troisieme mode 24. Voire deusent les eaux profondes [2:00] 7. Propos exquis [2:16] 25. Il est certain qu’au milieu d’elle [2:44] 8.
    [Show full text]
  • Un Recueil Parisien De Psaumes, De Chansons Spirituelles Et De Motets (Ca
    Un recueil parisien de psaumes, de chansons spirituelles et de motets (ca. 1565) : Genève BGE Ms. Mus. 572. Laurent Guillo, Jean-Michel Noailly, Pierre Pidoux To cite this version: Laurent Guillo, Jean-Michel Noailly, Pierre Pidoux. Un recueil parisien de psaumes, de chansons spirituelles et de motets (ca. 1565) : Genève BGE Ms. Mus. 572.. Bulletin de la Société d’Histoire du Protestantisme Français, 2012, p. 199-233. hal-01216880 HAL Id: hal-01216880 https://hal.archives-ouvertes.fr/hal-01216880 Submitted on 22 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Laurent Guillo, Jean-Michel Noailly et Pierre Pidoux † Un recueil parisien de psaumes, de chansons spirituelles et de motets (ca. 1565) : Genève BGE Ms. Mus. 572. La Bibliothèque de Genève a acquis en 1993 un manuscrit musical du milieu du XVIe siècle, cou- vert d’une remarquable reliure à décor, proposé par la librairie ancienne Thomas-Scheler à Paris et dont l’origine peut être retracée à partir de 1827. Il est maintenant conservé sous la cote Ms. Mus. 572. Outre la description du volume et de son contenu, assez inhabituel, cette contribu- tion s’attachera à identifier quelle a pu être sa provenance 1.
    [Show full text]
  • Une Jeune Pucelle 3’43 Se Chante Sur « Une Jeune Fillette »
    menu tracklist texte en français text in english textes chantés / lyrics AU SAINCT NAU 1 Procession Conditor alme syderum 2’40 2 Procession Conditor le jour de Noel 1’20 Se chante sur « Conditor alme syderum » 3 Eustache Du Caurroy Fantaisie n°4 sur Conditor alme syderum 1’48 (Orgue seul) 4 Jean Mouton - Noe noe psallite noe 3’21 5 Jacques Arcadelt - Missa Noe noe, Kyrie 8’06 Alterné avec le Kyrie « le jour de noël », qui se chante sur Kyrie fons bonitatis 6 Clément Janequin - Il estoyt une fillette 3’01 Se chante sur « Il estoit une fillette » 7 Anonyme/Christianus de Hollande Plaisir n’ay plus que vivre en desconfort 4’03 Se chante sur « Plaisir n’ay plus » 8 Claudin de Sermizy Dison Nau à pleine teste 3’27 Se chante sur « Il est jour, dist l’alouette » 9 Claudin de Sermizy - Au bois de deuil 3’49 Se chante sur « Au joly boys » 10 Eustache Du Caurroy Fantaisie n°31 sur Une jeune fillette 1’48 (Orgue seul) 3 11 Loyset Pieton O beata infantia 8’20 12 Eustache Du Caurroy Fantaisie n°30 sur Une jeune fillette 1’37 (Orgue seul) 13 Eustache Du Caurroy Une jeune pucelle 3’43 Se chante sur « Une jeune fillette » 14 Guillaume Costeley - Allons gay bergiere 1’37 15 Claudin de Sermizy L’on sonne une cloche 3’35 Se chante sur « Harri bourriquet » 16 Anonyme - O gras tondus 1’42 17 Claudin de Sermizy Vous perdez temps heretiques infames 2’16 Se chante sur « Vous perdez temps de me dire mal d’elle » 18 Claude Goudimel Esprit divins, chantons dans la nuit sainte 2’16 Se chante sur « Estans assis aux rives aquatiques » (Ps.
    [Show full text]
  • Diamm Facsimiles 6
    DIAMM FACSIMILES 6 DI MM DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC DIAMM COMMITTEE MICHAEL BUDEN (Faculty Board Chair) JULIA CAIG-McFEELY (Diamm Administrator) MATIN HOLMES (Alfred Brendel Music Librarian, Bodleian Library) EMMA JONES (Finance Director) NICOLAS BELL HELEN DEEMING CHISTIAN LEITMEIR OWEN EES THOMAS SCHMIDT diamm facsimile series general editor JULIA CAIG-McFEELY volume editors ICHAD WISTEICH JOSHUA IFKIN The ANNE BOLEYN MUSIC BOOK (Royal College of Music MS 1070) Facsimile with introduction BY THOMAS SCHMIDT and DAVID SKINNER with KATJA AIAKSINEN-MONIER DI MM facsimiles © COPYIGHT 2017 UNIVERSITY OF OXFORD PUBLISHED BY DIAMM PUBLICATIONS FACULTY OF MUSIC, ST ALDATES, OXFORD OX1 1DB ISSN 2043-8273 ISBN 978-1-907647-06-2 SERIES ISBN 978-1-907647-01-7 All rights reserved. This work is fully protected by The UK Copyright, Designs and Patents Act 1988. No part of the work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the prior permission of DIAMM Publications. Thomas Schmidt, David Skinner and Katja Airaksinen-Monier assert the right to be identified as the authors of the introductory text. Rights to all images are the property of the Royal College of Music, London. Images of MS 1070 are reproduced by kind permission of the Royal College of Music. Digital imaging by DIAMM, University of Oxford Image preparation, typesetting, image preparation and page make-up by Julia Craig-McFeely Typeset in Bembo Supported by The Cayzer Trust Company Limited The Hon. Mrs Gilmour Printed and bound in Great Britain by Short Run Press Exeter CONTENTS Preface ii INTODUCTION 1.
    [Show full text]
  • Lasso's Fleas: a Hungarian Connection for a European Topos*
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the Academy's Library Lasso’s Fleas: A Hungarian Connection for a European Topos* Vera LAMPERT Framingham, MA Fleas – ubiquitous and maddeningly hard to eradicate even in our own time – must have been a staple of European life in past centuries, unwelcome beasts who could be tolerated only with the help of a little humor. This essay exam- ines some of the humorous responses to fleas in literature, painting, and, es- pecially, music. While scholarship has been aware of the wide-spread popu- larity of the flea-topos for some time, no attention has yet been given to its musical manifestations. In this survey I will focus on one of Lasso’s two such compositions, particularly, because it extends the geographic boundaries of our theme to remote Hungary. * There is a curious title among the motets in the list of Lasso’s works in the New Grove Dictionary.1 Bestia curvafia pulices, coming between Benedixisti Domine and Bone Jesum verbum patris, seems shockingly out of place for the Hungarian reader since the second word of the title (curvafia, or according to the present day spelling kurvafia) in Hungarian means ‘son of a bitch’, or ‘whoreson’, to use the Shakespearean equivalent. Together with the first word of the title the second forms an expression in Hungarian, bestia curvafia [whoreson beast], which for centuries was one of the most common verbal abuses. A brief account of the history of this term is in order, so that we can see how Lasso might have encountered it.
    [Show full text]
  • MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W.
    [Show full text]
  • Fall 2016 Concert Program
    Jeff Rehbach, Music Director Saturday, December 3, 2016 at 7:30 pm St. Albans City Hall Auditorium Presented by the 8th Annual St. Albans Festival of Trees Sunday, December 4, 2016 at 3:00 pm St. Paul’s Cathedral Presented by Cathedral Arts VTChoralUnion.org The Vermont Choral Union, Fall 2016 Soprano Tenor Celia K. Asbell Burlington Mark Kuprych Burlington Ellen Bosworth Shelburne Rob Liotard Starksboro Mary Dietrich Essex Junction Jack McCormack Burlington Megumi Esselstrom Essex Junction Pete Sandon Essex Ann K. Larson* Essex Junction Paul Schmidt Bristol Kathleen Messier Essex Junction James Turner St. Albans Kayla Tornello Essex Junction Maarten van Ryckevorsel* Winooski Lindsay Westley Hinesburg Gail Whitehouse* Burlington Bass Martha Whitfield Charlotte James Barickman Underhill Douglass Bell* St. Albans Alto Jim Bentlage Jericho Clara Cavitt Jericho Jonathan Bond Burlington Michele Grimm* Burlington Joe Comeau Alburgh Mary Ellen Jolley* St. Albans Robert Drawbaugh Essex Junction Terry Lawrence Burlington John Houston Lisa Raatikainen Burlington Larry Keyes* Colchester Charlotte Reed Underhill Richard Reed Morrisville Lynn Ryan Colchester Dan Velleman Burlington Maureen Sandon Essex * Board members Karen Speidel Charlotte About the Vermont Choral Union Originally called the University of Vermont Choral Union, the ensemble was founded in 1967 by James G. Chapman, Professor of Music at the University of Vermont, who directed the choir until his retirement in 2004. Music educator and singer Gary Moreau then served as director through 2010. Carol Reichard, director of the Colchester Community Chorus, served as the Choral Union's guest conductor in Spring 2011. The Vermont Choral Union welcomed Jeff Rehbach as its music director in Fall 2011.
    [Show full text]
  • Program Notes by Anne Matlack
    12-06_program 12/6/06 6:50 PM Page 7 Program Notes by Anne Matlack elcome to our celebration of French music. If you are wondering what isW it that makes French music so, well, French, there’s a charm and an interest- ing combination of the pastoral and the sophisticated in much of this music that will both delight and inform your taste. We open with a wonderful Renaissance tune by Claude Goudimel that is still used today for this Advent hymn, Comfort, comfort. Goudimel, like Le Jeune, was a most important Reformation composer of Psalm settings in French. The long and short notes of music were set strictly to long and short syllables of the language, resulting in more rhythmic vitality than one would think could come from such a strict form. I love this arrangement by John Ferguson of St. Olaf College, with its charming instrumental ritornello. “Comfort, comfort now my people; Tell of peace!” So says our God. Comfort those who sit in darkness Mourning under sorrow’s load. To God’s people now proclaim That God’s pardon waits for them! Tell them that their war is over; God will reign in peace forever! For the herald’s voice is crying In the desert far and near, Calling us to true repentance, Since the Kingdom now is here. Oh, that warning cry obey! Now prepare for God a way! Let the valleys rise to meet him, And the hills bow down to greet him! Straight shall be what long was crooked, And the rougher places plain! Let your hearts be true and humble, As befits his holy reign! For the glory of the Lord Now on earth is shed abroad, And all flesh shall see the token That God’s word is never broken.
    [Show full text]
  • Pronouncing Dictionary and Condensed Encyclopedia of Musical
    i ML - i| I ii i « i| ii >it -'ilii 1 1 i lri . *'*'J''^^ wpili^^tiiim^ip m|»4i iftMt pqi. H I 444ii(l^W^ tiwS>^rtiii?n'i>,..,... , . 100 wU mm M M M , ;M42 ^ i iw riB ^>hfcWW*»««w<ffH^ liiUJfd'^iiww^wW'iUiirii Wy ^^iW iiwwyiitjtw iiiaJii Vrtiw»«*ww»n K %««wWwi*Kif= !i I - ' 'l ' 'l J..U. .m. ! ..JU! l?l' ff.'l ! ^Ktiifiii iiiaii«iiiiriiiiitiiiiiriWnriiiiiriiiiiiii»iiiiiiiiiiiiiiiiiiiriminiiiMiimiii iiiniMiiiwim ' .". " iSSaSSaMiSBS i!Si.iM„., ,.,l.'rifrf^.'',f|f Dl" . IIB BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF BenrQ W. Sage 1891 AjmimXIOJSIC u//4/m Cornell University Library ML 100.M42 3 1924 022 408 607 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022408607 : PRONOUNCING DICTIONARY Condensed Encyclopedia MUSICAL TERMS, INSTRUMENTS, COMPOSERS, AND IMPORTANT WORKS. BY W. S. B. MATHEWS. PHILADELPHIA THEODORE PRESSER 1895. COPYRIGHT, 1880. W. S. B. MATHEWS, CHICAGO. Press of Wm. F. Fell & Oo, 1220-24 SANSOM STREET, PHILADELPHIA. ;;; DICTIOI^rAEY. or (Ital. prep.) A, Ab, from, of ; also name of a A capriccio (Ital. cS-prXt'-zK). At caprice; pitch. at pleasure. > Abbreviations. These are the more usual. Accelerando (Ital. St-tshal-a-rSn'-do). Ac- Look for definitions under the words them- celerating ; gradually hastening the time. selves. Accent, an emphasis or stress upon particular Accel.y for accelerando ; Accomp.^ Accom- notes or chords for the purpose of rendering pagnement ; Adgo, or Ado.^ Adagio; ad the meaning of a passage intelligible.
    [Show full text]
  • Download Booklet
    DISCOVER EARLY MUSIC Contents page Track list 4 Early Music, by Lucien Jenkins 9 I. What were the Middle Ages? 11 II. The Church and Music 13 III. Secular Music 21 IV. Notation 27 V. Instruments 29 VI. Towards the Renaissance 33 VII. What was the Renaissance? 40 VIII. The Renaissance Madrigal 46 IX. Europe Divided 49 X. Europe United 59 Sources of featured panels 64 A Timeline of Early Music (music, history, art and architecture, literature) 66 Further Listening 78 Early Music Composers 81 Map 86 Glossary 87 Credits 92 4 DISCOVER EARLY MUSIC Track List CD 1 Anonymous 1 Antiphona post Evangelium 3.21 In Dulci Jubilo / Alberto Turco 8.553502 Anonymous 2 Versus Alleluiatici: Adorabo 2.21 Nova Schola Gregoriana / Alberto Turco 8.550711 Hildegard of Bingen (1098–1179) 3 Ordo Virtutum: Procession 4.25 Oxford Camerata / Jeremy Summerly 8.550998 Léonin (fl. 1150s–c. 1201) 4 – 9 Viderunt omnes 9.30 Tonus Peregrinus / Anthony Pitts 8.557340 Traditional 10 Gaudete Christus est natus 1.39 Oxford Camerata / Jeremy Summerly 8.550751 5 DISCOVER EARLY MUSIC Anonymous 11 Cantiga de Santa Maria 2.20 Unicorn Ensemble / Michael Posch 8.554256 Anonymous 12 Exiit diluculo 2.47 Oni Wytars Ensemble / Unicorn Ensemble 8.554837 Guiraut Riquier (c. 1230–c. 1300) 13 Humils forfaitz 7.01 Unicorn Ensemble / Michael Posch 8.554257 Guillaume Dufay (1397–1474) 14 Adieu ces bons vins de Lannoys 5.32 Unicorn Ensemble / Michael Posch 8.553458 Francesco Landini (c. 1325–1397) 15 Non avrà ma’pietà questa mia donna 4.19 16 Non ara may pieta questa mia dona 3.35 Unicorn Ensemble / Michael Posch 8.553618 John Dunstable (c.
    [Show full text]