DOCSLIB.ORG

Handel in Rome

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Handel in Rome Saturday Evening, February 17, 2018, at 7:30 The Juilliard School presents Handel in Rome Juilliard415 and Vox Luminis Elizabeth Blumenstock , Concertmaster Lionel Meunier , Artistic Director, Vox Luminis Sarah Jane Kenner , Violin Anneliese Klenetsky , Soprano GEORGE FRIDERIC HANDEL (1685–1759) Nisi Dominus , HWV 238 Nisi Dominus Vanum est vobis Cum dederit dilectis Sicut sagittae Beatus vir Gloria Patri HANDEL Violin Concerto in B-flat major, HWV 288 Andante Adagio Allegro SARAH JANE KENNER, Violin Intermission Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. HANDEL Laudate pueri Dominum , HWV 237 Laudate pueri Sit nomen Domini A solis ortu Excelsus super omnes Quis sicut Dominus Suscitans a terra inopem Qui habitare facit Gloria Patri ANNELIESE KLENETSKY, Soprano HANDEL Dixit Dominus , HWV 232 Dixit Dominus Virgam virtutis Tecum principium Juravit Dominus Tu es sacerdos in aeternum Dominus a dextris tuis Judicabit in nationibus De torrente in via bibet Gloria Patri Performance time: approximately 1 hour, 40 minutes, including one intermission Vox Luminis is grateful for the support from Wallonie-Bruxelles International for their U.S. tour and is represented exclusively in North America by Alliance Artist Management, 5030 Broadway, Suite 812, New York, NY 10034 Notes on the Program toward music. Our composer nonetheless smuggled a small clavichord into the fam - by James M. Keller ily’s attic and developed privately into an accomplished keyboard player. Once his tal - GEORGE FRIDERIC HANDEL ent became publicly known, the duke of Born February 23, 1685, in Halle, Saxony Saxe-Weissenfels urged Handel Sr. to allow (Germany) the gifted son to study music properly. Died April 14, 1759, in London, England Handel refined his abilities under the tute - lage of a church organist in his native city, Not much is known with certainty about acquiring skill not only as a keyboard player Handel’s formative years. His father, a but also as a violinist and in such disciplines respected barber-surgeon, was 63 years as harmony, counterpoint, and composition. old when George was born. (He was bap - tized under the name Georg Friederich When Handel entered Halle University in Händel, but he later adopted an anglicized 1702, he apparently did so as a law stu - version of his name, George Frideric Handel, dent. Within a month he was back in the which is generally used today in English- organ loft, this time at the local Calvinist speaking lands.) The father decided that Cathedral, though he was a baptized the son should study law and therefore did Lutheran. A year later, in 1703, he left for not encourage Handel’s early inclinations the musical capital of Hamburg, where he befriended Georg Phillip Telemann (then Nearly all of Handel’s Latin church music still a student) and gained a position in the dates from 1707, when he was living in municipal opera house, initially as a second Rome surrounded by ecclesiastical person - violinist, later as a harpsichordist. He vis - ages. His motet Nisi Dominus (HWV 238) ited the aging Dieterich Buxtehude in and Laudate pueri Dominum (HWV 237) nearby Lübeck but somehow managed to were almost certainly written for the Feast miss meeting Johann Sebastian Bach, his of Our Lady of Mount Carmel (Madonna exact contemporary, not only in those early del Carmine) at the Church of Santa Maria years but, indeed, at any point in his life. di Monte Santo in Rome, which was cele - brated through a Vespers service on July 15, By 1706, at the age of 21, he was off to 1707, a Mass on July 16, and another Italy, a magnet for any composer at the Vespers later on July 16. Cardinal Colonna turn of the 18th century. It was his base of and Marchese Ruspoli were major patrons operations from late 1706 through early of the Carmelite order, and the former was 1710, during which span he spent time in especially active underwriting special Florence, Rome, Venice, and Naples. He music for the order’s festivities. The motet arrived in Rome at the beginning of 1707, Dixit Dominus (HWV 232) probably relates and that is where we encounter him in this to the same ceremonies, but its associa - concert. It was an exciting place to be, a tion is less certain. Handel composed it in city of some 125,000 residents encom - April 1707, perhaps for a separate occa - passing, on one hand, desperate poverty sion; but, even in that case, it seems likely and rampant crime and, on the other, fan - that it may have also been performed, if tastic wealth that extended to a plethora of not premiered, at the Carmelite celebra - aristocratic palaces and the unbelievable tion. Each of the Vespers services required splendor of the Vatican. Handel (or the singing of five psalms; lavish settings “Endel,” as Italian sources sometimes (such as the 1707 feast) would include identified him, doing their best phoneti - polyphonic psalm settings, while more cally) was welcomed into the cultural cir - modest venues might realize them at least cles of four highly placed personages in mostly through chant. Handel’s extant particular: Cardinal Pietro Ottoboni (whose psalm settings line up remarkably well maestro di concerto was Arcangelo with the musical exigencies of the 1707 Corelli), Cardinal Benedetto Pamphilj (or Carmelite services, where they likely Pamphilii, or Panfili), Cardinal Carlo Colonna, would have been intermingled with set - and the Marchese (Marquis) Francesco tings by other composers. Maria Ruspoli. He became acquainted with such musical eminences as Corelli, Handel had an extraordinary ability to Alessandro Scarlatti, and Domenico Scarlatti absorb disparate regional styles and refract (visiting from Madrid), and was thoroughly them through the distinctive prism of his exposed to the latest trends in church personal voice. An Italianate sound cer - composition as well as the new concerto tainly informs all the pieces on this pro - grosso techniques of Corelli, Torelli, and gram, yet they also sound very much like Vivaldi. Handel left Italy in February 1710, Handel, memorable in rhythmic and melodic worked for a while in Hanover, and in outlines, imaginative in deployment of August 1710 traveled for the first time to voices and instruments, filled with specific England, where he would soon settle for character and musical surprise. The three the remainder of his illustrious career. motets require different forces. Nisi Dominus , a setting of Psalm 127 (or 126 in manuscript titled S onata a 5 , scored for the Vulgate numbering) is scored for three solo violin, two oboes (easily doubled with vocal soloists (contralto, tenor, and bass), “orchestral” violins), viola, and basso con - chorus, strings (including solo violin in one tinuo. This work has obscure origins. It aria), with basso continuo. Handel signed was quite possibly written in Italy, perhaps off on the piece on July 8, 1707. The in Florence or Venice in 1706 or 1707, per - work’s final doxology was thought destroyed haps in Rome. Though the piece is rarely in a fire in the 19th century, but it is now heard in this form, its first movement may widely believed that the doxology setting sound familiar. Handel, an inveterate recy - intended for this work is one Handel com - cler of his compositions, also employed it posed that expands the texture to a double in his Oboe Concerto “No. 2” in B-flat chorus and double string orchestra. major (perhaps a spurious work), in his Chandos Anthem No. 5 (1717–18), in the Laudate pueri (Psalm 113; Vulgate 112) is first of his 7 Sonatas for 2 Violins (or for strings plus two oboes (which operate German Flutes), Op. 5 (published in 1739), as an independent instrumental family and, in developed form, in the oratorio rather than just doubling the violins), a four- Belshazzar (1745). Such self-borrowing part chorus, and a florid solo soprano part, was common in Handel’s vocal music, too. in addition to basso continuo. This work The Dixit Dominus , for example, furnished was completed on July 13—really down to music he later used in his oratorio Deborah the deadline. Dixit Dominus (Psalm 110; (1733), and the Qui habitare fecit move - Vulgate 109) is the most imposing of these ment in Laudate pueri invites us to think motets, and although it was composed ahead to the famous aria “Oh, had I Jubal’s three months prior to the Carmelite cele - lyre” in his oratorio Joshua (1748). brations (it is said to be Handel’s earliest Repurposing of that sort was common surviving manuscript that can be defini - among many late-Baroque composers, but tively dated), it would have been a perfect in Handel’s case, it is remarkable how eas - choice to launch the Second Vespers (the ily music penned during his journeyman spot where the Dixit Dominus text falls), years in Italy could be fit into the pieces he which characteristically began with a par - composed many years later—a reflection ticularly elaborate musical selection. Here of the exceptional mastery he had already Handel requires five soloists (two sopra - achieved as an emerging composer in his nos, contralto, tenor, and bass), five-part early 20s. chorus, strings, and basso continuo, which are woven into a sequence of constantly James M. Keller is program annotator of the varying textures.
Load more

Recommended publications
  • UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA
    UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’.
    [Show full text]
  • Choose Yourfavorite Three Concerts
    CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
    [Show full text]
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
    [Show full text]
  • Handel's Sacred Music
    The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have
    [Show full text]
  • HANDEL VIVALDI Dixit Dominus Hwv 232 Dixit Dominus Rv 807 in Furore Iustissimae Irae Rv 626
    HANDEL VIVALDI Dixit Dominus hwv 232 Dixit Dominus rv 807 In furore iustissimae irae rv 626 La Nuova Musica Lucy Crowe soprano dir. DAVID BATES 1 VIVALDI / HANDEL / Dixit Dominus / LA NUOVA MUSICA / David Bates HMU 807587 © harmonia mundi ANTONIO VIVALDI (1678-1741) Dixit Dominus rv 807 1 Dixit Dominus (chorus) 1’51 2 Donec ponam inimicos tuos (chorus) 3’34 3 Virgam virtutis tuae (soprano I) 3’06 4 Tecum principium in die virtutis (tenor I & II) 2’08 5 Juravit Dominus (chorus) 2’12 6 Dominus a dextris tuis (tenor I) 1’54 7 Judicabit in nationibus (chorus) 2’48 8 De torrente in via bibet (countertenor) 3’20 9 Gloria Patri, et Filio (soprano I & II) 2’27 10 Sicut erat in principio (chorus) 0’33 11 Amen (chorus) 2’47 In furore iustissimae irae rv 626* 12 In furore iustissimae (aria) 4’55 13 Miserationem Pater piissime (recitative) 0’39 14 Tunc meus fletus evadet laetus (aria) 6’58 15 Alleluia 1’28 GEORGE FRIDERIC HANDEL (1685-1759) Dixit Dominus hwv 232 16 Dixit Dominus (chorus) 5’49 17 Virgam virtutis tuae (countertenor) 2’49 18 Tecum principium in die virtutis (soprano I) 3’31 19 Juravit Dominus (chorus) 2’37 20 Tu es sacerdos in aeternum (chorus) 1’19 21 Dominus a dextris tuis (SSTTB & chorus) 7’32 22 De torrente in via bibet (soprano I, II & chorus) 3’55 23 Gloria Patri, et Filio (chorus) 6’33 La Nuova Musica *with Lucy Crowe soprano 12-15 DAVID BATES director Anna Dennis, Helen-Jane Howells, Augusta Hebbert, Esther Brazil, sopranos Christopher Lowrey, countertenor Simon Wall, Tom Raskin, tenors James Arthur, bass 2 VIVALDI / HANDEL / Dixit Dominus / LA NUOVA MUSICA / David Bates HMU 807587 © harmonia mundi Dixit Dominus ithin the Roman Catholic liturgy Psalm 109 aria in Vivaldi’s opera La fida ninfa (1732).
    [Show full text]
  • Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role.
    [Show full text]
  • 1 Freitag, 18. Dezember 2015 SWR2 Treffpunkt Klassik – Neue Cds
    1 Freitag, 18. Dezember 2015 SWR2 Treffpunkt Klassik – Neue CDs: Vorgestellt von Susanne Stähr Die maskierte Violine Antonio Vivaldi: Teatro alla moda Violinkonzerte RV 228, 282, 313, 314a, 316, 322, 323, 372a und 391; Sinfonia „L„Olimpiade”; Ballo primo de “Arsilda Refina di Ponto” Gli Incogniti, Amandine Beyer (Violine und Leitung) HMC 902221 Frau Musicas Himmelschöre Antonio Vivaldi: Geistliche Werke Gloria RV 589; Laetatus sum RV 607; Magnificat RV 610a; Lauda Jerusalem RV 609 Le Concert Spirituel, Hervé Niquet (Leitung) Alpha 222 Du angenehme Nachtigall Birds: Vögel in der Barockmusik Werke von Rameau, Händel, Arne, Vivaldi, Keiser, Couperin u.a. Dorothee Mields (Sopran), Stefan Temmingh (Blockflöte), The Genteman‟s Band, La Folia Barockorchester Deutsche Harmonia Mundi 88875141202 Atemloser Schöngesang Julia Lezhneva: Händel Frühe italienische Werke Julia Lezhneva (Sopran), Il Giardino Armonico, Giovanni Antonini (Leitung) Decca 478 9230 „Gross Wunderding sich bald begab“ A Wondrous Mystery Renaissancemusik zu Weihnachten Werke von Clemens non Papa, Johannes Eccard, Jacobus Gallus, Hans Leo Hassler, Hieronymus Praetorius, Michael Praetorius und Melchior Vulpius Stile Antico HMU 807575 Fürs Gemüt O heilige Nacht Romantische Chormusik zur Weihnachtszeit Werke von Franz Wüllner, Johannes Brahms, August von Othegraven, Gustav Schreck, Carl Loewe, Carl Gottlob Reißiger, Robert Fuchs, Max Bruch, Max Reger und Carl Reinthaler Dresdner Kammerchor, Hans-Christoph Rademann (Leitung) Carus 83.392 Am Mikrophon begrüßt Sie herzlich: Susanne Stähr. Sechsmal werden wir noch wach – doch was gibt es bis dahin nicht noch alles zu erledigen! Festtagseinkäufe, Weihnachtsbäckerei, letzte Geschenke, die besorgt werden wollen … Aber vielleicht können wir Ihnen wenigstens dabei helfen, mit ein paar CD-Empfehlungen nämlich. Sechs neue Platten möchte ich Ihnen gleich vorstellen: passend zur Saison mit viel Barockmusik, mit himmlischen Chören und englischen Stimmen.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Booklet & CD Design & Typography: David Tayler Cover Art: Adriaen Coorte
    Voices of Music An Evening with Bach An Evening with Bach 1. Air on a G string (BWV 1069) Johann Sebastian Bach (1685–1750) 2. Schlummert ein (BWV 82) Susanne Rydén, soprano 3. Badinerie (BWV 1067) Dan Laurin, voice flute 4. Ich folge dir gleichfalls (St. John Passion BWV 245) Susanne Rydén, soprano; Louise Carslake, baroque flute 5. Giga (BWV 1004) Dan Laurin, recorder 6. Schafe können sicher weiden (BWV 208) Susanne Rydén, soprano 7. Prelude in C minor (BWV 871) Hanneke van Proosdij, harpsichord 8. Schlafe mein Liebster (BWV 213) Susanne Rydén, soprano 9. Prelude in G major (BWV 1007) David Tayler, theorbo 10. Es ist vollbracht (St. John Passion BWV 245) Jennifer Lane, alto; William Skeen, viola da gamba 11. Sarabanda (BWV 1004) Elizabeth Blumenstock, baroque violin 12. Kein Arzt ist außer dir zu finden (BWV 103) Jennifer Lane, alto; Hanneke van Proosdij, sixth flute 13. Prelude in E flat major (BWV 998) Hanneke van Proosdij, lautenwerk 14. Bist du bei mir (BWV 508) Susanne Rydén, soprano 15. Passacaglia Mein Freund ist mein J.C. Bach (1642–1703) Susanne Rydén, soprano; Elizabeth Blumenstock, baroque violin Notes The Great Collectors During the 1980s, both Classical & Early Music recordings underwent a profound change due to the advent of the Compact Disc as well as the arrival of larger stores specializing in music. One of the casualties of this change was the recital recording, in which an artist or ensemble would present an interesting arrangement of musical pieces that followed a certain theme or style—much like a live concert. Although recital recordings were of course made, and are perhaps making a comeback, most recordings featured a single composer and were sold in alphabetized bins: B for Bach; V for Vivaldi.
    [Show full text]
  • Download Booklet
    Orchestra of the Age of Enlightenment Monteverdi Vespers oae released and really cemented my path on the road towards Monteverdi often sets the text in that way. I took ‘early music’. Ever since then I have wanted to the decision therefore to blend low tenors with direct performances of it and play it as many times high baritones, low baritones with basses, high as possible. It is a work of such beauty and depth tenors with countertenors etc to create more of that such a wide variety of interpretations can be the sound of a choir that can sing both high and Claudio Monteverdi made of it. I would like to explain briefly some of low within its partbooks. Vespers of the Blessed Virgin, 1610 the choices that I made in preparing for this: When we performed this as a concert, Monteverdi’s publication appears as part- I added in liturgical plainchant as I strongly ROBERT HOWARTH Director books and not as a full score. Many editors believe that Monteverdi never conceived these have undertaken the task of putting together as concert pieces but only ever to be heard in the a performing edition and I’m sure they will all church as part of a service, therefore the Psalms acknowledge that none of them are perfect. What would have been preceded by antiphons relevant lies within these books are dark mysterious codes to the day. These do affect the Psalm and the about how to interpret the music. Once an editor context in which they are heard. As we are now has made decisions on your behalf, it is difficult removing ourselves by one step and presenting not to do their version.
    [Show full text]
  • Bach Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat Mp3, Flac, Wma
    Bach Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Vivaldi: Gloria - Caldara: Stabat Mater - Bach: Magnificat Country: UK Released: 1992 Style: Classical, Baroque MP3 version RAR size: 1627 mb FLAC version RAR size: 1860 mb WMA version RAR size: 1357 mb Rating: 4.7 Votes: 513 Other Formats: DXD WAV AAC VQF APE WMA MP4 Tracklist Hide Credits Gloria In D Major Rv. 589 Alto Vocals – Alison BrownerComposed By – Antonio VivaldiSoprano Vocals – Lynda Russell 1 Gloria In Excelsis Deo (Chorus) 2:28 2 Et In Terra Pax Hominibus (Chorus) 4:53 3 Laudamus Te (Sopranos I & Ii) 2:12 4 Gratias Agimus Tibi (Chorus) 0:27 5 Propter Magnam Gloriam (Chorus) 0:53 6 Domine Deus (Soprano) 3:31 7 Domine Fili Unigenite (Chorus) 2:10 8 Domine Deus, Agnus Dei (Alto & Chorus) 4:09 9 Qui Tollis Peccata Mundi (Chorus) 1:04 10 Qui Sedes Ad Dexteram (Alto) 2:06 11 Quoniam Tu Solus Sanctus (Chorus) 0:45 12 Cum Sancto Spiritu (Chorus) 2:43 Stabat Mater Alto Vocals – Caroline TrevorComposed By – Antonio Caldara 13 Stabat Mater Dolorosa (Chorus & Soli) 2:35 14 Quis Est Homo, Qui Non Fleret? (Soli) 3:18 15 Sancta Mater (Chorus & Tenor) 2:18 16 Fac Me Tecum Pie Flere (Chorus & Soli) 1:47 17 Virgo Virginum Praeclara (Chorus) 1:28 18 Fac Ut Portem (Alto) 1:17 19 Flammis Ne Urar Succensus (Soprano & Bass) 0:59 20 Christe, Cum Sit Hinc Exire (Chorus) 1:53 21 Fac Ut Animae Donetur (Chorus) 1:29 Magnificat In D Major, BWV 243 Alto Vocals – Alison BrownerSoprano Vocals – Lynda Russell 22 Magnificat Anima Mea (Chorus) 2:52 23 Et Exultavit (Soprano Ii) 2:23 24 Quia Respexit (Soprano I) 2:12 25 Omnes Generationes (Chorus) 1:11 26 Quia Fecit Mihi Magna (Bass) 2:10 27 Et Misericordia (Alto, Tenor) 3:36 28 Fecit Potentiam (Chorus) 1:51 29 Deposuit Potentes (Tenor) 1:59 30 Esurientes (Alto) 2:55 31 Suscepit Israel (Chorus) 2:08 32 Sicut Locutus Est (Chorus) 1:32 33 Gloria (Chorus) 2:20 Companies, etc.
    [Show full text]