DOCSLIB.ORG

A Medieval Renaissance Showcase

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Medieval Renaissance Showcase A Medieval and Renaissance Showcase presented by Lumina Vocal Ensemble and Lyrebyrd Consort with guest artist Artistic Director: Anna Pope Lumina Conductor: Clive Conway Dr Rob Morrison Assistant Conductor: Meg Pope as Narrator AA MMeeddiieevvaall && RReennaaiissssaannccee SShhoowwccaassee Programme notes by Anna Pope Given how many hundreds of thousands of musical pieces date from the Mediaeval and Renaissance period, it has been a real challenge to choose just a few to represent the breadth of styles and ideas that developed during 700 years of European history. Lumina and Lyrebyrd have selected 23 pieces to showcase the medieval period, starting with a beautiful plainsong Caritas abundat by the powerful 12th century Abbess Hildegard of Bingen: Loving tenderness abounds for all from the darkest to the most eminent one beyond the stars, Exquisitely loving all she bequeaths the kiss of peace upon the ultimate King. Next, we hear from Richard the Lionheart, King of England and parts of France for just a decade at the end of the 12th century, but renowned for his bravery during the Crusades. The doleful ballad Ja nun hons pris complains that his friends seem to have forsaken him: I have many friends but their gifts are few in number. They will be shamed if I remain in captivity these two winters because my ransom is not paid. Then we move into the 13th century with a popular song from England. Miri it is features many of the instruments we’re introducing today including oud, lute, harp, rebec, cornemuse, garklein recorder and percussion. Merry it is while summer lasts and we hear the birds sing. But alas in winter the nights are long, the weather harsh, and we sorrow and fast. After thousands of years of music that was mostly one line, music in two or three interweaving parts became common by the 13th century. Some examples include the following three-part pieces for recorder: J’aloie l’autre jor errant by Thibaut de Champagne, King of Navarre (c1230) and an anonymous Dance tune from c1300. Of the over 200 recordings Lumina have uploaded to YouTube, by far the most popular is the 13th century English song Sumer is icumen in. The song has a timeless charm that captures audiences today. One of the most striking instruments of the mediaeval period is the crumhorn, a recent challenge taken up by Lyrebyrd. Next is the first of two pieces in today’s concert featuring the instrument: Belial vocatur from the 13th century Codex las Huelgas, and later a piece from c1500. Contrasting with the crumhorn’s strident sound, Lyrebyrd next present a meditative interpretation of Laudemus (from the Montserrat Codex), featuring plucked string instruments including oud, lute, psaltery, Finnish kantele, harp, rebec and vielle. We then enter the 14th century with music by two of its most influential composers: Guillaume de Machaut and Philippe de Vitry – the latter described by Petrarch as ‘the greatest musician of his day’. Machaut’s Puis qu’en oubli is a captivating lyrical three-part secular song that tells of unrequited love: Since I am forgotten by you, sweet friend. I say farewell to the life of love and joy. In contrast, Philippe de Vitry’s extraordinary isorhythmic motet Vos qui admiramini virginem is dedicated to the Virgin Mary – at least in part. However, there is also a crossover with the theme of courtly love. While the lower parts sing of a ‘Most dear virginal image, adorned with bodily purity’ the upper part sings ‘Take heed you who admire maidens. If we are to be worthy of wedding the one above all others, after we have married her she must be greatly loved’. The piece ends with evocative words, both spiritual and sensuous: O king of kings, join eye to eye and mouth to mouth for a kiss, and breathe a word from your lips, which when received may make this flesh godlike. Next we meet all of the seven sizes of recorder being played by Lyrebyrd today, from the tiny garklein to the great bass in Fauvel nous a fait by Romain de Fauvel. We finish our visit to the medieval period with the rollicking Trotto – another piece that is particularly popular on Lumina’s YouTube channel – and the intricate four-part song Doctorum principem by Johannes Ciconia (1370?–1412). The work celebrates the life of Ciconia’s patron Francesco Zabarella: Let us sing in the sweetest melody, let our honeyed voices touch the stars, let us play our song concordantly on the lyre, let the cithara be struck and sound through our choirs… Francesco Zabarella… posterity will celebrate your skills for all time, world without end. The birth of the Renaissance In the second half of our performance today we move into the Renaissance period, starting with majestic choral works by two of the towering geniuses of the 15th century. Johannes Ockeghem’s Mort, tu as navré de ton dart remembers the much-admired medieval composer Gilles Binchois: Death, you have wounded with your dart the father of joy in unfurling your standard over Binchois, that paragon of goodness. Weep, whoever is of good will, weep for your university, pray for his soul. It is fitting, therefore, to follow Ockeghem’s masterpiece with a stunning work by Josquin des Pres in memory of Johannes Ockeghem. Nymphes des bois pays homage to Ockeghem in both word and musical form, with plaintive cries. Wood-nymphs, goddesses of the fountains, Skilled singers of every nation, Turn your voices, so clear and lofty, To piercing cries and lamentation Because Atropos, terrible satrap, Has caught your Ockeghem in her trap, The true treasurer of music and master, Learned, handsome and by no means stout. It is a source of great sorrow that the earth must cover him. Put on the clothes of mourning, Josquin, Pierre de la Rue, Brumel, Compère, And weep great tears from your eyes, For you have lost your good father. May they rest in peace. Amen. We then present several instrumental groupings and pieces that would have been popular in the Renaissance period, including a fanfare from the crumhorns and then two dances on rebecs. The Washerwoman’s Bransle (pronounced ‘brawl’) is a traditional dance dating back to medieval times, and was published in Thoinet Arbeau’s Orchesography in 1589 (one of the best records we have of early dances from the medieval and Renaissance periods). The dance includes hand claps depicting the way washerwomen bet their cloths on the banks of the river Seine. La Morisque is believed to date back to 1150 and was influenced by the Spanish Moors. The dance was later arranged and published by Tielman Susato. Next, Lyrebyrd’s recorder consort will perform a delightful dance by Holborne, followed by the viol consort playing a dance by Susato. We finish our Renaissance sojourn in England, first in the Tower of London where the unlucky second wife of Henry VIII awaited her execution. Although Anne Boleyn’s O Deathe rocke me asleepe may have been written by one of her admirers rather than herself, it remains achingly poignant. We then return to court with a fanfare from the cornemuses Passo media, followed by the jolly Pastime with good company attributed to Henry VIII. That’s all we could fit into today’s program, but if you want to hear some more wonderful music from the medieval period, don’t miss our July 2020 concert Alchemy – the search for medieval gold in the Umbrella Festival. If you also love the Renaissance period, then you have the chance to hear more in our August 2020 concert Elegance – Explorations in Early Music (Dufay to Purcell), also in the Umbrella Festival. We hope to see you there! Anna Pope, February 2020 LLuummiinnaa VVooccaall EEnnsseemmbbllee SINGING OUTSIDE THE SQUARE Sopranos: Rachel Sag, Carolyn Wilkins & Anna Pope (Artistic Director) Altos: Penny Dally, Sarah Lea, Meg Pope, Rosemary Byron-Scott & Kate Tretheway Tenors: Melinda Pike, Eleanor Pope, Tim Muecke, Fiona O’Connor & Peter Mahoney Basses: Clive Conway (Assistant Conductor), Kenneth Pope & Kym Waters Founded in 1999, Lumina specializes in discovering and performing music that is rarely heard. Ranging from medieval gems to masterpieces of the Renaissance and later, Lumina has also established a niche nurturing Australian composers, including performing dozens of world premieres. Based in Adelaide, Lumina has developed an international following via recordings and the internet. With five physical and two electronic CDs published and over 200 tracks available online, Lumina is listened to by hundreds of people every day and has over a million views on YouTube. The most popular works are those from the medieval period, but the contemporary Australian music is also getting a steady exposure. This is what Lumina is about – sharing wonderful music with the world, seeking out moments of magic, challenging listeners with new ideas, and giving both old and new composers a new voice. Biographies of performers are included on our website lumina.org.au/singers Have you seen Lumina on YouTube? 200+ clips and over 1.7 million hits! www.YouTube.com/user/LuminaVocalEnsemble LLyyrreebbyyrrdd CCoonnssoorrtt Anna Pope: kantele, soprano crumhorn & percussion Rachel Sag: psaltery, soprano crumhorn & cornemuse, garklein & descant recorder Sarah Lea: bowed psaltery & alto cornemuse Kenneth Pope: oud, sopranino & treble recorder, alto crumhorn & percussion Kari Dawson: tenor cornemuse; bass crumhorn; descant, treble & tenor recorder & finger cymbals Rosemary Byron-Scott: lute, bass crumhorn & bass recorder Tim Muecke: descant, tenor & great bass recorders, bass crumhorn, treble viol, rebec & vielle Lizzie Zeuner: rebec & tenor viol Eleanor Pope: rebec, vielle, bass viol & percussion Meg Pope: harp, tenor rebec & bass viol Additional percussion played by Clive Conway, Carolyn Wilkins and Peter Mahoney LLyyrreebbyyrrdd CCoonnssoorrtt Founded in 2008, the Lyrebyrd Consort explores early music using a combination of medieval and Renaissance instruments (or at least modern reproductions thereof).
Load more

Recommended publications
  • TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
    T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
    [Show full text]
  • 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]
  • For OCKEGHEM
    ss CORO hilliard live CORO hilliard live 2 Producer: Antony Pitts Recording: Susan Thomas Editors: Susan Thomas and Marvin Ware Post-production: Chris Ekers and Dave Hunt New re-mastering: Raphael Mouterde (Floating Earth) Translations of Busnois, Compère and Lupi by Selene Mills Cover image: from an intitial to The Nun's Priest's Tale (reversed) by Eric Gill, with thanks to the Goldmark Gallery, Uppingham: www.goldmarkart.com Design: Andrew Giles The Hilliard Ensemble David James countertenor Recorded by BBC Radio 3 in St Jude-on-the-Hill, Rogers Covey-Crump tenor Hampstead Garden Suburb and first broadcast on John Potter tenor 5 February 1997, the eve of the 500th anniversary Gordon Jones baritone of the death of Johannes Ockeghem. Previously released as Hilliard Live HL 1002 Bob Peck reader For Also available on coro: hilliard live 1 PÉROTIN and the ARS ANTIQUA cor16046 OCKEGHEM 2007 The Sixteen Productions Ltd © 2007 The Sixteen Productions Ltd N the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16048 The hilliard live series of recordings came about for various reasons. 1 Kyrie and Gloria (Missa Mi mi) Ockeghem 7:10 At the time self-published recordings were a fairly new and increasingly 2 Cruel death.... Crétin 2:34 common phenomenon in popular music and we were keen to see if 3 In hydraulis Busnois 7:50 we could make the process work for us in the context of a series of public concerts. Perhaps the most important motive for this experiment 4 After this sweet harmony...
    [Show full text]
  • The Trecento Lute
    UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain.
    [Show full text]
  • Multiple Choice
    Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance.
    [Show full text]
  • Josquin Des Prez: Master of the Notes
    James John Artistic Director P RESENTS Josquin des Prez: Master of the Notes Friday, March 4, 2016, 8 pm Sunday, March 6, 2016, 3pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Sopranos Altos Tenors Basses Gaude Virgo Mater Christi Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb From “Missa de ‘Beata Virgine’” Erin Lanigan Judith Cobb Stephen Bonime James Crowell Kyrie Jennifer Oates Clare Detko Frank Kamai Jonathan Miller Gloria Jeanette Rodriguez Linnea Johnson Michael Klitsch Michael J. Plant Ellen Schorr Cathy Markoff Christopher Ryan Dean Rainey Praeter Rerum Seriem Myrna Nachman Richard Tucker Tom Reingold From “Missa ‘Pange Lingua’” Ron Scheff Credo Larry Sutter Intermission Ave Maria From “Missa ‘Hercules Dux Ferrarie’” BOARD OF DIRECTORS Sanctus President Ellen Schorr Treasurer Peter Cobb Secretary Jeanette Rodriguez Inviolata Directors Jamie Carrillo Dean Rainey From “Missa Sexti toni L’homme armé’” Michael Klitsch Tom Reingold Agnus Dei III Comment peut avoir joye The members of Cerddorion are grateful to James Kennerley and the Church of Saint Ignatius of Petite Camusette Antioch for providing rehearsal and performance space for this season. Jennifer Oates, soprano; Jamie Carillo, alto; Thanks to Vince Peterson and St. Paul’s Episcopal Church for providing a performance space Chris Ryan, Ralph Bonheim, tenors; Dean Rainey, Michael J. Plant, basses for this season. Thanks to Cathy Markoff for her publicity efforts. Mille regretz Allégez moy Jennifer Oates, Jeanette Rodriguez, sopranos; Jamie Carillo, alto; PROGRAM CREDITS: Ralph Bonheim, tenor; Dean Rainey, Michael J. Plant, basses Myrna Nachman wrote the program notes.
    [Show full text]
  • Download Discantus Artistic Projects
    SPEEDMEETINGS SUBSCRIPTION FORM COMPANY : Ensemble Discantus / Centre de musique médiévale de Paris Brigitte LESNE (in french and spanish, available until 15:00) Anne PIFFARD (English), Alain GENUYS (French) e-mail : [email protected] - tél : 0033 1 45 80 74 49 Describe your company in a few words : Discantus is women vocal ensemble that brings alive the vocal repertoire, primarily sacred, of the Middle Ages from the first Western musical notation of the 9th century up to the 15th century. Founded in 1989 under the direction of Brigitte Lesne, it brings together passionate singers from diverse backgrounds capable of adopting a vocal style appropriate to the medieval repertoire, uniting unique individual timbres to form a coherent ensemble sound. Since the 2000’s, Discantus’ handbells became like the "signature" of the ensemble. Invited to the most prestigious festivals, Discantus performs regularly in France, in Western, Central and Eastern Europe (Croatia, Slovenia, Slovakia, Hungary, Poland) and as far as Fes in Morocco, Beyrouth in Lebanon, New York, Perth, and also in Colombia. The 13th recording, "the Argument of Beauty" (sacred polyphonies by Gilles Binchois, at æon recordings) was rewarded as 2010 best recordings of the year by Le Monde newspaper. In 2014, « Music for a King » - also by æon – alternates 11th century repertoire with two pieces commissioned to young composers using texts of Boethius. Discantus keeps enlarging it's repertoire with two new programs incorporating typical medieval stringed instruments (harp, hurdy-gurdy, psaltery, fiddle) played by the singers themselves: "A path to the field of stars, pligrim's songs" and "Santa Maria, At the court of Alfonso el Sabio".
    [Show full text]
  • News from Around the Region Geraldine Elliott, Director North
    Geraldine Elliott, Director North Central Region, AHS 753 Crestwood Dr. Waukesha, WI 53188 262.547.8539 [email protected] A tax-exempt non-profit corporation founded in 1962 Greetings to All Harpists in the North Central Region. I am honored to be your Regional Director at this exciting time in the life of the American Harp Society. Please let me know how I can facilitate communications between and among harpists in the Region. This Newsletter is one means of spreading the word among all the chapters in the Region, but it comes only once a year. There will be a second, email-only, message in the spring, so it is vitally important that we have accurate email addresses for all harpists. We send this newsletter to let you know about harp-happenings that are closer and less expensive (some are even free!) than the National meetings that are coming up. Please let me know of new items that arise so I can include them in the spring email blast. And donʼt forget to send me your accurate email address. THE AMERICAN HARP SOCIETY 9TH SUMMER INSTITUTE AND 19TH NATIONAL COMPETITION JUNE 19-23, 2011 THE LYON AND HEALY AWARDS JUNE 18-19, 2011 DENTON, TX (DALLAS/FT. WORTH AREA) WWW.MUSIC.UNT.EDU/HARP The University of North Texas welcomes the American Harp Society to enjoy a wonderful week. All events will be geared towards students and will include master classes, workshops, ensemble performances and viewing of historic harps. Performances will feature harpists of the Southwest and Emily Mitchell, guest artist and Heidi Van Hoesen Gorton, the AHS Concert Artist, and Michael Colgrass will be guest clinician.
    [Show full text]
  • A History of British Music Vol 1
    A History of Music in the British Isles Volume 1 A History of Music in the British Isles Other books from e Letterworth Press by Laurence Bristow-Smith e second volume of A History of Music in the British Isles: Volume 1 Empire and Aerwards and Harold Nicolson: Half-an-Eye on History From Monks to Merchants Laurence Bristow-Smith The Letterworth Press Published in Switzerland by the Letterworth Press http://www.eLetterworthPress.org Printed by Ingram Spark To © Laurence Bristow-Smith 2017 Peter Winnington editor and friend for forty years ISBN 978-2-9700654-6-3 1 3 5 7 9 8 6 4 2 Contents Acknowledgements xi Preface xiii 1 Very Early Music 1 2 Romans, Druids, and Bards 6 3 Anglo-Saxons, Celts, and Harps 3 4 Augustine, Plainsong, and Vikings 16 5 Organum, Notation, and Organs 21 6 Normans, Cathedrals, and Giraldus Cambrensis 26 7 e Chapel Royal, Medieval Lyrics, and the Waits 31 8 Minstrels, Troubadours, and Courtly Love 37 9 e Morris, and the Ballad 44 10 Music, Science, and Politics 50 11 Dunstable, and la Contenance Angloise 53 12 e Eton Choirbook, and the Early Tudors 58 13 Pre-Reformation Ireland, Wales, and Scotland 66 14 Robert Carver, and the Scottish Reformation 70 15 e English Reformation, Merbecke, and Tye 75 16 John Taverner 82 17 John Sheppard 87 18 omas Tallis 91 19 Early Byrd 101 20 Catholic Byrd 108 21 Madrigals 114 22 e Waits, and the eatre 124 23 Folk Music, Ravenscro, and Ballads 130 24 e English Ayre, and omas Campion 136 25 John Dowland 143 26 King James, King Charles, and the Masque 153 27 Orlando Gibbons 162 28 omas
    [Show full text]
  • ACET Junior Academies'
    ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression.
    [Show full text]