DOCSLIB.ORG

CHAN 0679 Front.Qxd 22/8/07 12:08 Pm Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHAN 0679 Front.Qxd 22/8/07 12:08 Pm Page 1 CHAN 0679 Front.qxd 22/8/07 12:08 pm Page 1 CHAN 0679 CHACONNE CHANDOS early music CHAN 0679 BOOK.qxd 22/8/07 12:25 pm Page 2 Music for Holy Saturday Giovanni Pierluigi da Palestrina (c. 1525/6–1594) 1 Lamentation I (Book III) 9:35 Chant 2 Responsory I 2:15 Lebrecht Collection Lebrecht Giovanni Pierluigi da Palestrina 3 Lamentation II (Book III) 7:58 Chant 4 Responsory II 2:27 Giovanni Pierluigi da Palestrina 5 Lamentation III (Book III) 8:49 Chant 6 Responsory III 4:03 Giovanni Pierluigi da Palestrina 7 Stabat mater 9:26 Chant 8 Antiphon 0:27 Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina 9 Benedictus for Holy Week 8:51 Chant 10 Antiphon 0:30 3 CHAN 0679 BOOK.qxd 22/8/07 12:25 pm Page 4 Palestrina: Music for Holy Saturday Giovanni Pierluigi da Palestrina In the extended drama of Holy Week and performed on either Good Friday or Holy 11 Sicut cervus 5:08 Easter, Holy Saturday forms an invisible Saturday. Palestrina’s sublime 8-part Stabat TT 60:07 scene-change. It is ushered in by the mater was sung in the Sistine Chapel at the dropping of a dark curtain on Good Friday, end of Mass on Palm Sunday – hardly the Musica Contexta and exited on Easter Sunday when the most natural timing for a text which Simon Ravens curtain is raised to a scene of dazzling considers Mary’s (and our) response to Christ light. Yet in comparison to the theatrical dying on the cross. Although there is no activity of the days on either side, on liturgical precedent for Stabat mater to be Musica Contexta Holy Saturday itself the plot does not sung on Holy Saturday, the motet is included really shift. It is, inevitably, a day of here because the spirit of the text is apt, and soprano Ian Aitkenhead tenor Tim Crosley reflection and preparation. If this makes importantly, because any survey of Stephen Shellard Andrew Hope the last day of Holy Week sound like a Palestrina’s music for Holy Week would be William Towers Tony Purves liturgical poor relation, then this is not deficient without it. alto Simon Lillystone bass Adrian Hutton reflected in the music it inspired from More than any other work except the Peter North Simon Ravens Palestrina. Whereas composers of other Missa Papae Marcelli, in the centuries after Benjamin Rayfield Jonathan Wix eras were drawn to the overtly dramatic Palestrina’s death, Stabat mater was parts of the Easter cycle – one thinks of responsible for creating a halo around the mediaeval sepulchre dramas and baroque composer’s reputation. In the early Passions – the less rhetorical style of eighteenth century a member of the Sistine Palestrina and his contemporaries found Chapel, Andrea Adami, was already noting just as natural a home in the subdued that the piece was sung ‘adagio’ (slowly) and mood of Holy Saturday. ‘assai agiatamente’ (very easily). Subsequent Ironically, the single work of Palestrina’s editions by Richard Wagner and William which is most obviously related to the period Barclay Squire, and related performances by of contemplation between the crucifixion large choirs, also stressed the grandeur and and resurrection was not originally solemnity of the work. Yet we should be 4 5 CHAN 0679 BOOK.qxd 22/8/07 12:25 pm Page 6 wary of attaching too much significance to rhythmically notated edition of chant for contrast to Palestrina’s more homophonic evidently a rhetorical question. In every this tradition: even Adami was writing well Holy Week, published in 1587 and dedicated setting of the Benedictus (CHAN 0617) this sense, by this stage little appears left to be over a century after Palestrina’s death, and his to the then Pope, Sixtus V.) In total there are work is chant-based: each odd-numbered resolved. understanding of the word ‘adagio’ would at least four complete settings of the verse is chanted, and the polyphonic verses have been differently conditioned from Lamentations by Palestrina (with those (essentially in five parts, but rising to six in © 2002 Simon Ravens Wagner’s and Squire’s. At least some of the presented here being taken from the third the final verse) are based on the same reciting music sung by the Capella Sistina during group). In style and atmosphere, these Holy tone. Musica Contexta translates literally as ‘music Holy Week was sung by solo voices, and Saturday Lamentations mine the same The final liturgical act of Holy Saturday interwoven’, reflecting the group’s governing when we approach a work such as Stabat magnificently rich vein as those Palestrina is what we now know as the Easter Vigil. aim of presenting Renaissance music in the mater with these forces, the capacity of the wrote for Maundy Thursday (CHAN 0617) This service of renewal forms the final context of its original conception and human lung becomes a significant factor in and Good Friday (CHAN 0652). By the preparation for Easter itself, and its tone function. Springing from this single aim is a determining tempo. standards of the time, this mildly chromatic shows a subtle but significant change from desire to reflect the many distinctive idioms The theory that Palestrina envisaged all of and dissonant style might not be particularly that of Tenebrae. The changed mode of the and national styles of the Renaissance. Also, his music to be sung by solo voices is bold, but by Palestrina’s standards it most liturgy is perfectly reflected in Palestrina’s in realising its governing aim Musica brought into practical dispute by a section in certainly is. More significantly, in its simply affecting motet Sicut cervus. Sung Contexta claims only to present music as it the first Lamentation for Holy Saturday, combination of anguish and formal restraint during the blessing of the baptismal water, could – not would – have been heard. This, where the single soprano line divides into the music perfectly matches the bleak but the liquid images of this psalm text bear in turn, implies an openness to possibilities two, the second of these parts to be added ‘si ultimately elliptical tone of the Old obvious significance. Far from the probing at which surviving written sources can only placet’ (if one pleases). The solution adopted Testament texts. tensions which underpin the Lamentations, hint. Formed in 1991, Musica Contexta throughout the Lamentations in this From the last part of the service of the opening melodies of Sicut cervus return made an acclaimed debut the following year recording – of using two singers per part in Tenebrae (literally meaning ‘darkness’) comes us to the composer’s more familiar, balanced at St John’s Smith Square, and has since the fully scored sections, but single singers in the Benedictus pro Hebdomada sancta – style. Even the final line of the text, ‘Ubi est appeared in Britain and Europe. Amongst the parts for reduced voices – is one obvious Benedictus for Holy Week. The relevance of Deus tuus?’ (Where is now thy God?) draws the group’s most notable recent performances way of accommodating such unusual the Benedictus text to a service which ended little in the way of dissonance from the have been concerts at the York Early Music divisions. with all the candles having been extinguished composer: to Palestrina, particularly with Festival and a Wigmore Hall debut broadcast The three Lamentations for Holy Saturday and the congregants pondering Christ’s death Easter Sunday on the horizon, this was on BBC Radio 3. (each followed by a chanted Responsory) on the cross, lies in its final verse: ‘Illuminare would have been sung in the first part of the his, qui in tenebris et in umbra mortis Tenebrae service. (The chants have been sedent’ (To give light to them that sit in transcribed from Giovanni Guidetti’s darkness, and in the shadow of death). In 6 7 CHAN 0679 BOOK.qxd 22/8/07 12:25 pm Page 8 Tod dafür verantwortlich, das Renommee des von Solostimmen dargeboten werden, wird Palestrina: Musik für Ostersamstag Komponisten erstrahlen zu lassen, als sei es durch einen Abschnitt der ersten von einem Heiligenschein umgeben. Schon Lamentation für Karsamstag aus ganz im frühen achtzehnten Jahrhundert stellte praktischen Erwägungen in Zweifel gezogen; Im ausgedehnten Drama der Karwoche und Ausdruck in der gedämpften Stimmung des ein Ensemblemitglied der Sixtinischen dort nämlich zweiteilt sich die eine des Osterfests findet am Karsamstag ein Karsamstags. Kapelle namens Andrea Adami fest, dass das Sopranlinie, und die zweite der beiden unsichtbarer Szenenwechsel statt. Er wird Ironischerweise wurde das einzige Werk Stück “adagio” (langsam) und “assai Stimmen ist “si placet” (wenn es gefällt) damit eingeleitet, dass im Anschluß an den Palestrinas, das in besonders offenkundigem agiatamente” (sehr getragen) gesungen werde. überschrieben. Die für die vorliegende Karfreitag ein dunkler Vorhang fällt, und Zusammenhang zur Phase der Einkehr Spätere Ausgaben von Richard Wagner und Aufnahme der Lamentationen durchweg endet am Ostersonntag, wenn der Vorhang zwischen Kreuzigung und William Barclay Squire und darauf folgende gewählte Lösung, nämlich die Verwendung aufgeht und den Blick auf eine in blendend Wiederauferstehung steht, ursprünglich Aufführungen durch große Chöre betonten von je zwei Sängern pro Stimme für die helles Licht getauchte Szene freigibt. Im weder am Karfreitag noch am Karsamstag ebenfalls die Pracht und Feierlichkeit des Abschnitte mit vollständiger Besetzung, aber Vergleich zu den dramatischen Ereignissen aufgeführt. Palestrinas erlesenes Werks. Allerdings sollten wir uns davor nur eines Sängers für die Abschnitte mit der Tage davor und danach tut sich jedoch achtstimmiges Stabat Mater wurde am Ende hüten, dieser Tradition allzu große reduzierten Stimmen, ist eine naheliegende am Ostersamstag wenig, das die Handlung der Messe zu Palmsonntag in der Bedeutung beizumessen: Selbst Adami hat Methode, solch ungewöhnlichen voranbringt.
Load more

Recommended publications
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]
  • Missa Papae Marcelli: a Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi Da Palestrina and An
    MISSA PAPAE MARCELLI: A COMPARATIVE ANALYSIS OF THE KYRIE AND GLORIA MOVEMENTS OF GIOVANNI PIERLUIGI DA PALESTRINA AND AN ADAPTATION BY GIOVAN NI FRANCESCO ANERIO Michael J. Moore, B.M.E. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Graham Phipps, Major Professor Frank Heidlberger, Committee Member Thomas Sovik, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Moore, Michael J., Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio. Master of Music (Music Theory), May 2006, 81 pp., 51 examples, 28 bibliographic references. My comparative analysis of Missa Papae Marcelli includes discussion about the historical significance of Palestrina’s contribution to church music reform with regard to Marcello Cervini’s reforms in church doctrine. The compositional techniques and adherence to clarity of text are important aspects of Palestrina’s music that have earned him the title “savior” of polyphonic music. The comparative analysis will begin with a detailed study of Palestrina’s compositional method including an examination of voice leading, text setting, and cadence types. These compositional techniques will be compared to Anerio’s 1619 adaptation of the Palestrina model. An examination of Anerio’s adaptation illustrates how changes in composition shift from a contrapuntal design with elided phrases to a harmonic design with regular phrase structures. Adaptive techniques include both borrowed and newly composed material. Borrowed material includes introductory statements and closing gestures; however, much of the body of each movement is altered and shortened.
    [Show full text]
  • P Ales Trina
    CORO CORO Allegri: Miserere PALESTRINA Palestrina: Missa Papae Marcelli Pierluigi Giovanni da “Christophers draws brilliant performances from his singers, both technically assured and vividly impassioned.” THE GUARDIAN cor16014 Music from the Sistine Chapel Allegri, Anerio, Palestrina, Marenzio GRAMOPHONE EDITOR'S CHOICE “Surprises and rarities abound here...a daring journey of discovery.” GRAMOPHONE cor16047 Hail, Mother of the Redeemer “Sumptuous…Victoria could apply himself equally to the sublime contemplation of Sancta Maria and to the jubilant fervour of the Magnificat, a range of expression that The Sixteen embraces.” THE TELEGRAPH cor16088 Claudio Monteverdi Selva morale e spirituale Vol.I “These are some of the most spirited and individual performances of this repertory available.” BBC MUSIC MAGAZINE cor16087 Giovanni Pierluigi Giovanni da PALESTRINA volume To find out more about The Sixteen, concert tours, and to buy CDs visit cor16091 www.thesixteen.com 1 Giovanni Pierluigi da volume 1 104 masses! But what we are doing is presenting each volume based around PALESTRINA a single mass and theme relevant to that mass, in this case the Assumption, alongside some of his settings of the Song of Songs. Palestrina published 29 such settings. He apologised for possessing “light and vain ideas” and indeed Palestrina’s legacy and impact on “blushed and grieved” at presenting these sensual motets. Remember that the sacred music worldwide is second Song of Songs comes from that part of the Old Testament which was often to none. Composers through the considered too sensual and erotic to be read. It was originally Hebrew love centuries have studied and learnt poetry, written down possibly 300 years or so before the birth of Christ, but from his gift for writing exquisite these are texts which in Renaissance times were used in praise of the Virgin Mary.
    [Show full text]
  • BONUS QUESTIONS *** 1670 Q: According to the Apocryphal Gospel of James, This Person Lived in the Holy of Holies Until the Age of 12
    RCC Study Questions - Senior Level *** BONUS QUESTIONS *** 1670 Q: According to the apocryphal gospel of James, this person lived in the Holy of Holies until the age of 12. A: Who is Mary? 1671 Q: This Greek word, referring to Mary, means "full of grace." A: What is kecharitomene? 1672 Q: Mary is an archetype of this entity. A: What is the Church? 1673 Q: This privilege of Mary refers to her intercessory co-operation in the bestowal of graces. A: What is mediatrix? 1674 Q: This is the year when the doctrine of the Immaculate Conception was defined. A: What is 1854? 1675 Q: This non-canonical book, chronicles the birth and childhood of Mary. A: What is the Protoevangelium of James? 1676 Q: Christ taught that he would do this if he be lifted up. A: What is "draw all men to myself"? 1677 Q: According to St. Athanasius, this is the reason why God became man. A: What is so that "man may become God"? 1678 Q: Icthus, the Greek word for "fish", is an acronym for this. A: What is "Jesus Christ, Son of God, Saviour"? 1679 Q: This is the reason Jesus descended into Hades? A: What is "to free the just who had already died". 1680 Q: The 3 chief effects of grace received in the sacrament of Matrimony. A: What are: 1. Love faithfully - 2. Bear faults patiently - 3 Bring up children properly? 1681 Q: This name is given to the daily Mass offered publicly in religious communities. A: What is a conventual Mass? 1682 Q: This term is given to the calling down of the Holy Spirit upon the Holy Gifts before the Consecration.
    [Show full text]
  • A Reexamination of Palestrinas Role in the Catholic Reformation
    A Reexamination of Palestrinas Role in the Catholic Reformation by Edward Schaefer Meeting ofthe Council of Trent in Santa Maria Maggiore. Painted in 1633. The story of the 1565 meeting of Catholic church offi­ The first abuse of these singers arises from the fact that cials, during which Palestrina's Missa Papae Marcelli is alleged many of them do not even lmow one note from another, to have been heard and proclaimed to be the consummate as they say, and are in fact unskilled in any phase of music. example of an appropriate style of music for mass settings, is Therefore they teach through substitute assistants-a well documented. 1 Prior to this meeting, however, many course of action not without its derision and mockery discussions were held regarding the banning of polyphonic from the people. music from the Catholic church altogether. This article will The second abuse, coming from the first, is that they clarify the contributions of persons, in addition to Palestrina, do not care whether there are either corrected or un­ who might be credited for their part in having "saved church corrected musical books, even daring to use them (un­ music"2 and the polyphonic style. corrected books) in church. But since even one vowel, incorrectly written, is able to malce the sense of the words The State of Church Music and prayers perverse and heretical, ... those most during the Early Sixteenth Century important books which are accustomed to be used, which During the first half of the sixteenth century, the Catholic they call missals and breviaries, ought to be most carefully church struggled to correct rampant abuses-in areas ranging written and edited.
    [Show full text]
  • AGNUS DEI (From Missa Papae Marcelli) Giovanni Pierluigi Da Palestrina (1562) 2
    AGNUS DEI (from Missa Papae Marcelli) Giovanni Pierluigi da Palestrina (1562) 2 AGNUS DEI from Missa Papae Marcelli (Pope Marcellus Mass) By Giovanni Pierluigi da Palestrina (Italy) Renaissance (1562) LESSON INTRODUCTION Important Terms and Concepts • Timbre: the “color” or quality of sound • Sacred Music: music that was intended for use in a religious setting • Texture: the way in which the melodies, harmonies, and rhythms of a piece are structured or layered • Monophonic: one melodic line only • Homophonic: one main melodic line supported by chords/harmonies • Polyphonic: more than one independent melodic line BEHIND THE MUSIC Giovanni Pierluigi (c. 1525 – 1594) was born in Palestrina, Italy, during the Renaissance. Not much is known about Giovanni’s early life, but it is said that he sold his family farm products on the streets of Rome and would sing songs while he walked around the streets. The choirmaster of Santa Maria heard his impressive vocal talents and started training him in music. Choral music was widely popular, and many composers, including Palestrina, lived their lives attached to the service of the church. At the time, many people felt that music in the church had become too secular. The Pope met with church officials to discuss the situation; and it was suggested that all music be removed except the old Gregorian chant. Legend has copyright 2016 Shreveport Symphony Orchestra www.shreveportsymphony.com 3 it that Palestrina was commissioned to write a choral mass as a test case. The result was Missa Papae Marcelli (the Mass of Pope Marcellus), a work so beautiful that it influenced officials to vote in favor of keeping music.
    [Show full text]
  • Conversations with the Past: Hans Pfitzner's" Palestrina" As a Neo
    Conversations with the Past: Hans Pfitzner’s Palestrina as a Neo-Renaissance Opera A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Alexander Kroger B.M.E. Indiana University June 2016 Committee Chair: Stephen C. Meyer, PhD Abstract This thesis examines Act I of Hans Pfitzner’s (1869-1949) seminal opera Palestrina (1916) and the ways in which the composer references and revives Renaissance style in this work. This project outlines the concept of a “neo-Renaissance” style by placing Pfitzner’s opera in the context of early twentieth-century Germany. Pfitzner’s musical training, particularly at the Hoch Conservatory, underscores the development of his anti-modernist polemics that continually appeared throughout his music. Contextualizing Pfitzner and Palestrina within the Weimar Republic and the Third Reich affords a better understanding of how his personal politics and anti-Semitic tendencies factored into his compositional style. Finally, this thesis examines reception of Palestrina, both during and after Pfitzner’s lifetime. Comparing reviews of the opera at two points in the twentieth century—the 1920s and 1990s—will help to demonstrate when Pfitzner enjoyed his greatest levels of popularity, and why this remained limited even at its height. ii iii Acknowledgements This thesis would not exist in its current form without the help of several people. First, I owe many thanks to my advisor, Dr. Stephen C. Meyer, who helped guide my critical thinking and research throughout this process.
    [Show full text]
  • Chapter 5: a Perfected Art: Church Polyphony in the Late Fifteenth and Sixteenth Centuries
    Chapter 5: A Perfected Art: Church Polyphony in the Late Fifteenth and Sixteenth Centuries I. Josquin A. Introduction: Although a few of the composers we have studied were famous during their lifetimes (and for a while thereafter), no one achieved the “star” status of Josquin des Prez. 1. His reputation was legendary during his lifetime and continues to be so today. 2. Not only was his music well known, but his personality also interested his contemporaries. 3. The printing of his works assisted in the spread of his popularity. 4. His works not only display the technical prowess one expects of the high style ca. 1500, but they also reflect humanist values in the lowering of style. B. A Poet Born, Not Made 1. By the time Josquin died, music had moved from being considered part of the quadrivium to part of rhetoric. a. Music, in response to emerging attitudes toward humanism, could express ideas, emotions, etc. b. Compositions had to move the listeners. 2. The theorist Glareanus is responsible for the Josquin legend, as related in his Dodecachordon (1547). C. Josquin’s Career 1. Josquin began his career not far from where Du Fay had worked and died (Cambrai). 2. Early on, he also worked in Aix-en-Provence (the opposite end of France from Cambrai) and for the Sforza family of Milan. 3. In 1489 he went to Rome to work for the papal chapel choir. 4. Josquin was working for the Duke of Ferrara (the d’Este family) by the time Petrucci’s volumes were printed. a.
    [Show full text]
  • Palestrina.Pdf
    Anonymous submission MT&A Analytical vignette 29 July 2016 HARMONIC EXTROVERSION IN THE POPE MARCELLUS MASS Scholars have long disagreed about the origin of functional tonality, situating it variously in the early 1500s (Dalza and the Frottola), the early 1600s (Monteverdi), the 1670s (Corelli), and sometime after Bach.1 To my mind, however, this is like asking for the year in which dinosaurs evolved into birds: functional harmony, like the birds, developed extremely gradually over time, and there is no single point at which the process began or ended. Instead, it seems to have appeared by the early 1500s as a limited set of ionian-mode popular-music idioms emphasizing the primary triads I, IV, and V.2 Over the next century and a half, these routines gradually colonized an ever- increasing swath of European musical practice, to the point where they started to resemble universal musical laws rather than an assortment of style-specific tendencies. While this was happening they also increased in complexity: where the simplest functionality merely emphasizes root-position I, IV, and V chords, more complex styles feature ever-longer chains of idiomatic progressions connecting tonic to dominant. Thus the supertonic becomes the primary predominant in the early 17th-century, with the vi chord being codified as a pre-predominant (i.e. chord that progresses to IV or ii rather than directly to V) only decades later. In much the same way, the I@ chord begins as a sonority that can typically be explained as “merely a suspension,” only later evolving the independence to be approached and resolved in a variety of ways.
    [Show full text]
  • Article Full Text PDF (109.8
    The Knowledge Bank at The Ohio State University Ohio State Engineer Title: Music Notes for Engineers Creators: Bonn, George S. Issue Date: Mar-1936 Publisher: Ohio State University, College of Engineering Citation: Ohio State Engineer, vol. 19, no. 5 (March, 1936), 8. URI: http://hdl.handle.net/1811/35281 Appears in Collections: Ohio State Engineer: Volume 19, no. 5 (March, 1936) MUSIC NOTES FOR ENGINEERS With GEORGE S. BONN, '35 TAL.Y, according to Hollywood, is the land where Elixir of Love), has at least one number which a everybody bursts into song at surprisingly opportune tenor can sing well and make his audience enjoy it; I times; the people eat spaghetti and speak Italian when "Una furtiva lagrima" (A furtive tear) is frequently on they aren't singing. All their music is light, very melodic, Richard Crooks' programs, and he sings it well, but, and singable; yet they have not produced exceptionally here again, the remainder of the opera is seldom heard. great names in the lists of art-songs or folk-songs, though The greatest name in opera anywhere, not including the Neapolitan type of song is famous the world over. Wagner's music-dramas, is undoubtedly Guiseppe Verdi. Such pieces as "Santa Lucia," "Funiculi, Funicula," Most people are familiar with his music through numer- "() Sole Mio," and "Maria Mari" were written by ous exerpts of various operas. The "Anvil Chorus" from different men, mostly under the impetus of a contest of "II Trovatore," the "Quartet" from "Rigoletto," the some sort. The greatest music produced in Italy was "Drinking Song" from "La Traviata," the "Triumphal of two totally different kinds: religious music, and operas March" from "Aida," and parts of "Don .Carlos," "The in which the action hasn't very much to do with the Force of Destiny," and "The Masked Ball" are really splendid melodies in them.
    [Show full text]
  • Early Music Segment Catalogue
    Early Music Mysticism to Majesty - the era of Early Music While the chronology of early music may resist an exact defi nition, the advancement of European musical styles portrayed in this catalogue takes us on a fascinating journey from the emergence of gregorian chant (c.750) up to the development of early Baroque music (c.1600). Vocal, instrumental, sacred and secular works are gathered either in discrete discs of the more celebrated composers from the Mediaeval and Renaissance periods, such as Leonin, Perotin, Byrd and Monteverdi, or appear in themed compilations: French chansons, German lute songs, Italian dramatic laments, for example. Life during those distant eras is brought vividly to life through the music. The exuberant and bawdy 11th- and 12th-century texts of Carmina Burana, spread by itinerant scholars and clerics, remind us how Latin was a pan-european language that superseded those of individual nations. The madrigals of Carlo Gesualdo, the calculating murderer of his wife and her lover, play out against the untouchable status that a Venetian nobleman then enjoyed. With the absence of lighting and sets, the dramatic importance of music in Shakespeare’s plays is underscored by the musical subtleties created for his texts by composers contemporary with the bard. The artistic interest shown by influential rulers is reflected not only in the sound of the compositions, but also in the splendour of their presentation. The works of Desprez, de la Rue and Willaert were as beautiful to look at through the glorious calligraphy of the A-La-mi-Re manuscripts as they were to listen to.
    [Show full text]