DOCSLIB.ORG

Memorandum Xxi Skip Sempé • Memorandum Xxi Memorandum • Sempé Skip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Memorandum Xxi Skip Sempé • Memorandum Xxi Memorandum • Sempé Skip 5 CDs SKIP SEMPÉ • MEMORANDUM XXI SKIP SEMPÉ • MEMORANDUM XXI The trademark sound of Skip Sempé and Capriccio Stravagante has graced the SKIP SEMPÉ world’s concert stages for more than 30 years. Off the stage, Sempé has contributed insightful essays on a wide range of topics, from Renaissance virtuosity to the fi ne art of instrument building. Inspired by Bach’s famous ‘Memorandum’ of 1730 - Essays & Interviews on Music & Performance Bach’s personal ‘wish list’ for ideal performances - here are 40 of Sempe’s selected writings in English and French, along with a collection of his groundbreaking recordings, brought together on 5 CDs. Invite yourself to this ‘movable feast’ in all MEMORANDUM XXI its manifestations. Discover this new manner of musical thinking: a challenge for Ecrits & Entretiens sur la musique & l’interprétation both audiences and performers. • La marque de fabrique de Skip Sempé et Capriccio Stravagante résonne dans les salles de concert du monde entier depuis plus de 30 ans. Hors de la scène, Skip Sempé est un infatigable chercheur qui a écrit de nombreux et éclairants essais sur un large éventail de sujets, de la virtuosité à la Renaissance à l’art de la facture instrumentale. Inspiré par le célèbre ‘Memorandum’ de Bach de 1730 - sa liste de souhaits personnels pour une interprétation idéale - Sempé a sélectionné 40 textes, illustrés par 5 CDs, témoignage de 25 années d’enregistrements révolutionnaires. Invitez-vous à cette fête sonore et musicale et découvrez une nouvelle manière de penser la musique : un défi pour le public et les artistes. • MEMORANDUM XXI Paradise Lost - Clavessinistes - Harpsichords & Harpsichordists Le Parnasse François - Cross Relations - Packaging & Repackaging • CD I Pavans, Galliards & Dances Byrd - Dowland - Praetorius - Scheidt - Brade - Morley Madrigals Embellished: Palestrina - Josquin Desprez - Rore CD II Madrigali: Monteverdi: Lamento d’Arianna, Ze ro torna La Pellegrina: Malvezzi - Marenzio - de’ Cavalieri Differencias & Canzone: Cabezon - Gabrieli - Marini CD III Chaconnes, Fantazias, Sonatas & Suites Bach - Buxtehude - Telemann - Scarlatti - Purcell - Farina: Capriccio Stravagante CD IV Pièces de clavecin: Chambonnières, d’Anglebert Louis & François Couperin, Rameau, Forqueray, Duphly CD V Musique de théâtre: Lully, Couperin, Campra, Marais, de la Barre Skip Sempé Pièces de violes: Marais, Sainte Colombe • Capriccio Stravagante Skip Sempé - Doron Sherwin - Julien Martin - Josh Cheatham - Olivier Fortin Sophie Gent - Pierre Hantaï - Jasu Moisio - Julien Léonard - Pablo Valetti Capriccio Stravagante Renaissance Orchestra Guillemette Laurens - Karina Gauvin - Judith van Wanroij Capriccio Stravagante Les 24 Violons Collegium Vocale Gent - Capriccio Stravagante Capriccio Stravagante Renaissance Orchestra - Capriccio Stravagante Les 24 Violons Paradizo 2013 PA0012 6 Hours 30 minutes of music - 45 Composers - 100 Works PA0012 Photo archive - Bilingual edition English / Français 5 425019 972127 MemorandumXXI-Cover34mmSpineNEW.indd 1 04/11/13 08:59 SKIP SEMPÉ Essays & Interviews on Music & Performance MEMORANDUM XXI Ecrits & Entretiens sur la musique & l’interprétation TABLE OF CONTENTS / SOMMAIRE General editor Saraswathi Shukla Editorial contributions THE EXTRAVAGANT CAPRICE Douglas Amrine Kate van Orden Irène Bloc CD I ................................................................................................................................ 11 Dennis Collins Olivier Vannieu CD II ............................................................................................................................... 15 Denis Grenier Thomas Mace CD III ............................................................................................................................. 19 Christian Hermansen CD IV ............................................................................................................................ 23 Cover photo CD V ............................................................................................................................... 27 Marco Borggreve Art direction Massimo Polvara ENGLISH Text layout Preface Pascal Chan - Exploring the Previously Unheard Remasterings by Xavier Vandamme .................................................................................................. 30 Hugues Deschaux Paradise Lost The Extravagant Caprice I - V - The Renaissance Orchestra and the Power of Sonority ....................................... 34 Paradizo Courtesy of - Transcending Sentimentality ................................................................................... 39 Alpha - Renaissance Instrumental Virtuosity: Fantasy Precedes Fact .......................... 43 Astrée / Naïve - Terpsichore: Europe Dancing ................................................................................. 47 Deutsche Harmonia Mundi / Sony Music Entertainment - William Byrd, Inventor ............................................................................................ 53 In Praise of Flemish Virginals of the Seventeenth Century - Fantazias: The Virgin Harpsichord ....................................................................... 57 Courtesy of Marie Leonhardt / The Estate of Gustav Leonhardt - Remodelling: William Lawes and the ‘Chic’ Italians ........................................ 61 Edinburgh University Press First edition Clavessinistes © Skip Sempé / Paradizo, 2013 - Chambonnières: Father of the French Harpsichord School ............................ 65 - Believing in the Music: Who Was Louis Couperin? .......................................... 69 - Memento Mori Froberger: The Value of the Music ................................................ 72 - The Elusive Art of Jacques Champion de Chambonnières ............................. 74 www.paradizo.org - Double Meanings: François Couperin and L’Art de toucher le clavecin .......... 77 www.skipsempe.com - Jean-Philippe Rameau and the Spectacle des mains ............................................ 80 - The ‘Sans Souci’ Effect and Parisian Salon Repertoire of the Enlightenment ... 85 www.stravagante.com 5 Harpsichords and Harpsichordists FRANCAIS - In Praise of Flemish Virginals of the Seventeenth Century by Gustav Leonhardt .................................................................................................. 90 Préface - Gustav Leonhardt and the Little Red Harpsichord .......................................... 95 - Exploration de l’inouï - ‘Bach’ Harpsichords by Michael Mietke, Bruce Kennedy and… Skip Sempé .. 101 par Xavier Vandamme ................................................................................................. 194 - Martin Skowroneck: Three Harpsichords, Three Harpsichordists ................ 103 - A Clavichord Made by Arnold Dolmetsch, Haslemere, 1932 ......................... 106 Le Paradis perdu - Albert Fuller: Pull Out for Handle, Push In for Mozart ..................................... 108 - L’orchestre renaissance et le pouvoir de la sonorité ............................................ 198 - Wanda Landowska’s Concert Hall and Gardens at Saint-Leu-la-Forêt ........ 111 - Sentimentalité transcendante .................................................................................. 203 - Virtuosité instrumentale de la Renaissance : les faits soumis à la fantaisie ..... 207 Le Parnasse François - Terpsichore : l’Europe dansante .............................................................................. 211 - The French Baroque: Music and Décor ................................................................. 116 - William Byrd, innovateur ......................................................................................... 217 - Metaphors and Images in French Baroque Music ............................................. 117 - Fantazias : le clavecin vierge ................................................................................... 221 - The ‘Chamber’ Music of Jean-Baptiste Lully ...................................................... 119 - « Remodelage » : William Lawes et les Italiens « chics » .................................. 225 - ‘La Belle Danse’ and the 24 Violons du Roy of Versailles ................................ 120 - Marais and Sainte-Colombe: ‘Les voix humaines’ ............................................ 123 Clavessinistes - Jacques Champion de Chambonnières : Cross Relations fondateur de l’école française de clavecin ............................................................... 229 - Foreign Exchange: Johannes Schenk and the Northern Viola da Gamba - Quand l’écoute prime : qui était Louis Couperin ? ............................................ 233 Virtuosi ........................................................................................................................ 128 - Memento mori Froberger : ce que vaut la musique ............................................. 236 - With Indiscretion: International Mannerism and the Stylus Fantasticus of - L’Art élusif de Jacques Champion de Chambonnières ...................................... 238 Buxtehude and Bach ................................................................................................. 130 - Double sens : François Couperin et L’Art de toucher le clavecin ........................ 241 - Georg Philipp Telemann and the Lullistes ........................................................... 135 - Rameau et le « spectacle des mains » .................................................................... 243 - Canto mediterraneo: A Precious and Forgotten Secret
Load more

Recommended publications
  • Digibooklet Co'l Dolche Suono
    Co‘l dolce suono Ulrike Hofbauer ensemble arcimboldo | Thilo Hirsch JACQUES ARCADELT (~1507-1568) | ANTON FRANCESCO DONI (1513-1574) Il bianco e dolce cigno 2:35 Anton Francesco Doni, Dialogo della musica, Venedig 1544 Text: Cavalier Cassola, Diminutionen*: T. Hirsch FRANCESCO DE LAYOLLE (1492-~1540) Lasciar’ il velo 3:04 Giovanni Camillo Maffei, Delle lettere, [...], Neapel 1562 Text: Francesco Petrarca, Diminutionen: G. C. Maffei 1562 ADRIANO WILLAERT (~1490-1562) Amor mi fa morire 3:06 Il secondo Libro de Madrigali di Verdelotto, Venedig 1537 Text: Bonifacio Dragonetti, Diminutionen*: A. Böhlen SILVESTRO GANASSI (1492-~1565) Recercar Primo 0:52 Silvestro Ganassi, Lettione Seconda pur della Prattica di Sonare il Violone d’Arco da Tasti, Venedig 1543 Recerchar quarto 1:15 Silvestro Ganassi, Regola Rubertina, Regola che insegna sonar de viola d’archo tastada de Silvestro Ganassi dal fontego, Venedig 1542 GIULIO SEGNI (1498-1561) Ricercare XV 5:58 Musica nova accomodata per cantar et sonar sopra organi; et altri strumenti, Venedig 1540, Diminutionen*: A. Böhlen SILVESTRO GANASSI Madrigal 2:29 Silvestro Ganassi, Lettione Seconda, Venedig 1543 GIACOMO FOGLIANO (1468-1548) Io vorrei Dio d’amore 2:09 Silvestro Ganassi, Lettione Seconda, Venedig 1543, Diminutionen*: T. Hirsch GIACOMO FOGLIANO Recercada 1:30 Intavolature manuscritte per organo, Archivio della parrochia di Castell’Arquato ADRIANO WILLAERT Ricercar X 5:09 Musica nova [...], Venedig 1540 Diminutionen*: Félix Verry SILVESTRO GANASSI Recercar Secondo 0:47 Silvestro Ganassi, Lettione Seconda, Venedig 1543 SILVESTRO GANASSI Recerchar primo 0:47 Silvestro Ganassi, Regola Rubertina, Venedig 1542 JACQUES ARCADELT Quando co’l dolce suono 2:42 Il primo libro di Madrigali d’Arcadelt [...], Venedig 1539 Diminutionen*: T.
    [Show full text]
  • PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491
    PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491 RODOBALDO TIBALDI REPERTORIO TRÀDITO E COEVO NELLE INTAVOLATURE PER CANTO E LIUTO RACCOLTE DA FRANCESCO BOSSINENSIS CON UNO SGUARDO ALLE RACCOLTE ANALOGHE I due libri di intavolature per canto e liuto raccolti da Franciscus Bossinensis e pubblicati da Ottaviano Petrucci nel 1509 e nel 1511 sono stati variamente conside- rati dagli studi musicologici, talvolta in riferimento alla prassi esecutiva, talvolta con una certa attenzione a singoli e ben determinati fenomeni analizzati in alcuni brani, ma più spesso come riduzioni a tre parti di componimenti ‘vocali’ a quattro voci (o comunque concepiti a quattro voci); il più delle volte, comunque, vengono esamina- ti come un qualcosa esistente in quanto dipendente dai libri di frottole editi tra il 1504 e il 1514, e non nella loro autonomia. Eppure, uno sguardo complessivo alle due sil- logi, alla mappa delle relazioni con i testimoni a penna e a stampa afferenti al mede- simo repertorio (tra i quali un posto non secondario ricopre l’importante manoscrit- to Parigi, Bibliothèque Nationale de France, Rés. Vmd. ms 27), il confronto tra le diverse versioni, che talvolta rivela alcuni aspetti interessanti riguardanti non solo la sfera dell’esecuzione, ma soprattutto quella della composizione (o, per lo meno, sembra talvolta che la diversa destinazione delle raccolte del Bossinensis sia consi- derata proprio nella sua ‘alterità’), ed infine il numero degli unica conservati nei due libri, e nel secondo in modo particolare, ci permettono di osservarli in una prospetti- va un poco diversa, forse anche a causa della perdita del decimo libro di frottole.
    [Show full text]
  • 4 Classical Music's Coarse Caress
    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.
    [Show full text]
  • Marco Antonio CAVAZZONI (C
    Marco Antonio CAVAZZONI (c. 1490–c. 1560) Complete Works Italian Ricercars Glen Wilson, Harpsichord Marco Antonio Cavazzoni (c.1490–c. 1560) new form. The deconstructed textures of all six of the texted lady in his early teens, he is already described in 1483 as Complete Works • Italian Ricercars pieces reveal the work of a keyboard player, not that of a a master of the harpsichord. He spent most of his long life composer of serious polyphony. (c. 1468–1548) in Modena, where his tomb-monument can ‘Julio Segni’s playing is certainly of a rare beauty, but he is ricercare for instrumental ensemble or keyboard – has But it is the two ricercars which are landmarks of the still be seen in the splendid cathedral. Our track 2 is worth far more on quilled instruments than on the organ.’ been consigned, if anywhere, to university classrooms, highest order. Their length alone, and especially their preserved in the precious manuscript collection at This reference to the initiator of the epochal Musica where one imagines reluctant students of music history consistent use of a small number of motifs and bold Castell’Arquato, and cannot be dated; hence its place in Nova of 1540 is just one of many contemporary documents yawning as they consult their social media. modulation, are unparalleled in previous instrumental the evolution of the form is difficult to determine. It is clearly that show the importance of the harpsichord and its smaller Cavazzoni was born into a noble family in Bologna at music. They rather surprisingly have their roots in Austria, more contrapuntally oriented than the freer types, but not to cousins in early 16th-century Italy.
    [Show full text]
  • 000871568.Pdf
    ☙PROTOTIPAGEM MUSICAL Novo Design De Instrumentos De Teclado Antigos BAU, S I L V E S T R E (J O Ã O S I L V E S T R E M E D E I R O S D E B AU) Técnico em Informática pelo Colégio Técnico Industrial "Prof. Isaac Portal Roldán" (CTI) e estudante de Bacharelado em Design De Produto pela Faculdade de Arquitetura, Artes e Comunicação (FAAC), ambas as instituições ligadas à Universidade Estadual Paulista "Júlio De Mesquita Filho" (UNESP) E-mail—<[email protected]> Trabalho de conclusão de curso apresentado como exigência para a obtenção do grau de Bacharelado em Design De Produto pela Faculdade de Arquitetura, Artes e Comunicação (FAAC) do campus de Bauru da Universidade Estadual Paulista "Júlio De Mesquita Filho" (UNESP), sob a orientação do professor Dr. Osmar Vicente Rodrigues UNESP 2015 UNESP—UNIVERSIDADE ESTADUAL PAULISTA "JÚLIO DE MESQUITA FILHO" FAAC—FACULDADE DE ARQUITETURA, ARTES E COMUNICAÇÃO DEPARTAMENTO DE DESIGN BANCA EXAMINADORA O R I E N T A D O R Prof. Dr. Osmar Vicente Rodrigues FAAC–UNESP E-mail—<[email protected]> E X A M I N A D O R I Prof. LD Luís Carlos Paschoarelli FAAC–UNESP E-mail—<[email protected]> E X A M I N A D O R II Prof. Dr. Tomas Queiroz Ferreira Barata FAAC–UNESP E-mail—<[email protected]> BAURU, ESTADO DE SÃO PAULO 29 SETEMBRO 2015 “A Vida se resume a medo, raiva, desejo e amor. Parar de sentir emoções, de querer estas sensações, é como a Morte.
    [Show full text]
  • 2006 Newsletter.Pmd
    THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES VILLA I TATTI Via di Vincigliata 26, 50135 Florence, Italy VOLUME 26 E-mail: [email protected] / Web: http://www.itatti.it D D D Tel: +39 055 603 251 / Fax: +39 055 603 383 AUTUMN 2006 Letter from Florence he I Tatti family seemed larger than the meeting in Florence. Directors and Tever this year, with fifteen Fellows, other representatives came from the six Visiting Professors, two Mellon Getty, Frick, Metropolitan Museum, Fellows, three Craig Hugh Smyth Fellows CASVA, Clark, Smithsonian, Wolfsonian, from the museum world, and two Dumbarton Oaks, American Academy in Harvard Readers in the Renaissance, for Rome, Huntington, Mellon Centers for a total of twenty-eight in all. This does British Art in both London and New not count returning Fellows who, this Haven, and Instituto de Investigaciones year more than ever, contributed to the Estéticas in Mexico City. On the agenda vitality of the community. With the were visits to the Pitti, to hear a history spring influx of returning Fellows lunches of the historic hang from the director, often became buffets spreading out over Serena Padovani, and to the National the garden terraces. The community also in the company of curator Alessandro Institute of Restoration, the so-called seems larger because more Fellows are Cecchi and Nicola MacGregor, who had Opificio delle Pietre Dure, to look at living on I Tatti property, with two new just restored the painting. Back at I Tatti recent work. Gerhard Wolf, director of apartments already restored (in addition there was a magic moment when we took the Kunsthistorisches Institut, spoke on to the four at San Martino) and a third in Berenson’s delicate, tragic fragment of a the challenge of setting new missions for the planning stages.
    [Show full text]
  • FROTTOLE Popular Songs of Renaissance Italy Certain Periods in Human History Seem to Be Particularly Marked by Epoch-Making Events
    FROTTOLE Marchetto Cara (1470-1525): Popular Songs of RenaissanceFROTTOLE Italy @ Per dolor me bagno el viso (1-7, 9) 5:56 Popular Songs of Renaissance Italy Text: Anonymous • Source: O. Petrucci, Frottole Libro XI, Fossombrone 1514 Anonymous: Vincenzo Capirola (1474-after 1548): # 1 La vida de Culin (1-6, 8-9, 11) 2:25 Ricercar Ottavo (5) 1:47 Text: Anonymous • Source: Ms Montecassino 871 Source: Compositioni di Messer Vincenzo Capirola, 1517 ca. Jacopo da Fogliano (Giacomo Fogliano) (1468-1548): Francesco Patavino (1478-1556): 2 L’amor, dona ch’io te porto (1-9) 3:10 $ Un cavalier di Spagna (1-4) 1:25 Text: Anonymous • Source: O. Petrucci, Frottole Libro VII, Venezia 1507 Text:FROTTOLE Anonymous • Source: Libro primo de la Croce, Pasotti & Dorico, Roma 1526 Adrian Willaert (1490-1562): POPULAR SONGSBartolomeo OF Tromboncino: 3 Vecchie letrose (1-10, 12) 2:15 RENAISSANCE% Virgine ITALY bella (1, 6-7, 9-10) 4:02 Text: Anonymous • Source: A. Gardano, Canzone villanesche alla napolitana, Venezia 1545 Text: Francesco Petrarca • Source: A. Antico, Canzoni nove, Roma 1510 Michele Pesenti (c. 1600-c. 1648) (attr.): Marchetto Cara: 4 Che faralla, che diralla (1-4, 6-10) 3:40 ^ Non è tempo d’aspettare (3, 5-7, 9-10) 3:25 Text: Anonymous • Source: O. Petrucci, Frottole Libro XI, Fossombrone 1514 Text: Anonymous • Sources: F. Bossinensis, Tenori e contrabbassi intabulati col sopran Anonymous: in canto figurato per cantar e sonar col lauto, Venezia 1509 5 Occhi miei, al pianger nati (1-7, 9-10) 4:42 Text: Anonymous • Source: O. Petrucci, Frottole Libro II, Venezia 1505 Giovan Battista Zesso (Ioannes Baptista Gesso) (15th-16th century): & D’un bel matin d’amore (1-10) 2:13 Joan Antonio Dalza (? - after 1508): Text: Anonymous • Source: O.
    [Show full text]
  • Organ Festivals in Australia 1968—1973
    ‘A strange madness’: Organ festivals in Australia 1968–1973 Ann Orriss Blore Submitted in total fulfillment of the requirements of the degree of Master of Music July 2011 Melbourne Conservatorium of Music The University of Melbourne ii Abstract In the six years 1968–1973 seventeen pipe organ festivals were held across four Australian cities, a phenomenon that had not occurred elsewhere. This thesis considers the activities of the small number of people who drove the festivals’ establishment, the newly-built ‘neoclassical’ organs and harpsichords that were integral to the festivals’ success, and the circumstances that brought these agents for change together. The period studied here was one of considerable movement— political, social, technological and musical. This thesis shows that the festivals were part of a wider generational push to embrace ‘the new’ in diverse areas. They resulted from a development of new interests among a disparate group of specialists, which fortuitously converged with those of an isolated but developing audience for ‘new’ musical experiences. Until the 1960s the organ in Australia was relatively isolated from mainstream music, its role mainly confined to liturgical functions. However in Europe the organ was undergoing considerable change as part of the organ reform movement that stimulated a reconsideration of organ building, taking into account the principles on which the historic instruments of the eighteenth century were constructed. Importantly, the organ reform movement also linked with and formed part of the concurrent early music movement. By the 1960s, sound recordings had made newly discovered historic instruments and their repertoire accessible to most Australian musicians and music lovers for the first time.
    [Show full text]
  • The Harpsichord: a Research and Information Guide
    THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo.
    [Show full text]
  • Organ Festivals in Australia 1968—1973
    ‘A strange madness’: Organ festivals in Australia 1968–1973 Ann Orriss Blore Submitted in total fulfillment of the requirements of the degree of Master of Music July 2011 Melbourne Conservatorium of Music The University of Melbourne ii Abstract In the six years 1968–1973 seventeen pipe organ festivals were held across four Australian cities, a phenomenon that had not occurred elsewhere. This thesis considers the activities of the small number of people who drove the festivals’ establishment, the newly-built ‘neoclassical’ organs and harpsichords that were integral to the festivals’ success, and the circumstances that brought these agents for change together. The period studied here was one of considerable movement— political, social, technological and musical. This thesis shows that the festivals were part of a wider generational push to embrace ‘the new’ in diverse areas. They resulted from a development of new interests among a disparate group of specialists, which fortuitously converged with those of an isolated but developing audience for ‘new’ musical experiences. Until the 1960s the organ in Australia was relatively isolated from mainstream music, its role mainly confined to liturgical functions. However in Europe the organ was undergoing considerable change as part of the organ reform movement that stimulated a reconsideration of organ building, taking into account the principles on which the historic instruments of the eighteenth century were constructed. Importantly, the organ reform movement also linked with and formed part of the concurrent early music movement. By the 1960s, sound recordings had made newly discovered historic instruments and their repertoire accessible to most Australian musicians and music lovers for the first time.
    [Show full text]
  • Corina Marti, Enea Sorini Quando Cala La Notte Carpe Diem Records
    Corina Marti, Enea Sorini Carpe Diem Records Quando cala la notte 3 EN 1. Ricercare Julio Segni da Modena 4:05 2. Oimé il cor, oimé la testa Marchetto Cara 4:26 3. Fuggi fuggi cor mio anon., after Philippe Verdelot 2:51 4. La mia vaga tortorella Elias Dupré 1:38 5. Animoso mio desire Andrea Antico, after Bartolomeo Tromboncino 1:43 6. Recerchada anonymous 2:39 7. Pavana - Il saltarello de la pavana - La coda anonymous 2:55 8. Nasce la speme mia da un dolce riso Marchetto Cara 5:47 9. O passi sparsi anon., after Sebastiano Festa 2:44 10. Ripresa anonymous 1:43 11. Tu mi tormenti a torto anonymous 3:58 12. Recerchare Giacomo Fogliano da Modena 3:24 13. Surge da l’orizonte il biondo Appollo Johannes Lulinus Venetus 2:23 14. Alijec Nademna Venus [= De là da l’aqua] Nicolaus Cracoviensis, after Francesco Santa Croce 2:19 15. Deh chi me sa dir novella Michele Pesenti 6:40 16. Madame vous aves mon cuor Marco Antonio Cavazzoni, after anon. 4:57 17. Pavana - Il saltarello de la pavana - La coda anonymous 4:47 18. Recerchada Giacomo Fogliano da Modena 1:59 19. Virgine bella che del sol vestita Andrea Antico, after Bartolomeo Tromboncino 2:29 20. Ecco che, per amarte, a quel ch’io arivo! Bartolomeo Tromboncino 2:24 4 EN CORINA MARTI Early Renaissance harpsichord ENEA SORINI voice DATES OF COMPOSERS AND ARRANGERS Julio Segni da Modena * 1498; † 1561 Marchetto Cara * c1465; † 1525 Philippe Verdelot * c1480-85; † ?1530-32, before 1552 Elias Dupré fl 1507 Andrea Antico * c1480; † after 1538 Sebastiano Festa * c1490-95; † 1524 Giacomo Fogliano da Modena * 1468; † 1548 Johannes Lulinus Venetus fl early 16th century Francesco Santa Croce * c1487; † ?1556 Nicolaus Cracoviensis fl 1st half of the 16th century Michele Pesenti * c1470; † 1528 Marco Antonio Cavazzoni * c1490; † c1560 Bartolomeo Tromboncino * 1470; † after 1534 5 EN WHEN THE nigHT descends Night, which brings not only counsel, silence and peace but also melancholy and fears, has always proved inspirational Now that the sky and the earth and the wind are silent, for poets, musicians and painters.
    [Show full text]
  • Complete Index,1973-2019 Harpsichord & Fortepiano
    Harpsichord & fortepiano Complete Index,1973-2019 Harpsichord & fortepiano Harpsichord COMPLETE INDEX, 1973-2019 & fortepiano Harpsichord & fortepiano was Compiled by Francis Knights founded in 1973 by Edgar Hunt as The English Harpsichord Magazine , adopting the current title in 1987. It is published 1 Main Index, 1973-2019 twice a year, in the Spring and Autumn, and is available 26 Subject Index worldwide 26 Instruments Editor Francis Knights, 29 Keyboards and Makers Fitzwilliam College, 32 Stringing, Tuning and Maintenance Cambridge, email 35 Repertoire [email protected] 38 Performance and Teaching Publisher, 41 Collections and Organizations Advertising and Subscriptions 42 Interviews and Profiles Peacock Press Ltd, 45 Obituaries Scout Bottom Farm, Mytholmroyd, 46 Miscellaneous Hebden Bridge, Yorkshire HX7 5JX, United Kingdom, tel 01422 882751 48 Author Index Website www.hfmagazine.info See the website to view the archive, style guide, ad rates and to renew subscriptions Design and Artwork D&P Design and Print Cover photo: Spinet by Edward Blunt (1704), by kind permission of David Hackett ISSN: 1463-0036 (photo: David Hackett) MAIN INDEX, 1973-2019 This chronological Index covers every issue of the English Harpsichord Magazine and Harpsichord & fortepiano , vols.i-xxiii, and includes all of the content apart from names of works reviewed and advertisements. For a Subject Index, including Interviews and Obituaries, see p.26, and for an Author Index of articles, see p.48. The Harpsichord Magazine , i/1 (October 1973) ‘Editorial’, Edgar Hunt, p.1 ‘George Malcolm, C.B.E.: An Interview’, Edgar Hunt, pp.2-5 ‘A Visit to Robert Goble’, [Edgar Hunt], p.6 ‘Early English Harpsichord Building: A Reassessment’, Thomas McGeary, pp.7-19, 30 ‘The Broadwood Books: I’, Charles Mould, pp.19-23 ‘Harpsichord Building: I.
    [Show full text]