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EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Summer 2020
EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Summer 2020 PROGRAM #: EMN 20-01 RELEASE: June 22, 2020 Treasures from Wolfenbüttel Starting in the late Renaissance, the court at Wolfenbüttel in northern Germany emerged as a cultural center. The dukes of the house of Welf employed high-profile composers like Michael Praetorius to increase their prestige, but lesser masters like Daniel Selichius made their mark as well. In this edition of Early Music Now, we'll hear from both composers, with performances by the Huelgas Ensemble and Weser-Renaissance Bremen. PROGRAM #: EMN 20-02 RELEASE: June 29, 2020 Those Talented Purcells This week's show focuses on Henry Purcell, and his lesser-known brother (or cousin) Daniel. We'll hear chamber music by both composers, plus selections from the semiopera they worked on together: The Indian Queen, from a 2015 release by The Sixteen. PROGRAM #: EMN 20-03 RELEASE: July 6, 2020 The Lost Voices of Hagia Sophia This week's program showcases an extraordinary recent release from the Portland-based ensemble Cappella Romana. This recording of medieval Byzantine chant composed for Hagia Sophia was recorded entirely in live, virtual acoustics, and soared to #1 on Billboard's Traditional Classical chart! These evocative sounds linger in the soul long after the music fades. PROGRAM #: EMN 20-04 RELEASE: July 13, 2020 Salomone Rossi: Revolutionary Jewish composer Salomone Rossi was a musician who served the Gonzaga court in Mantua. They valued him so highly that he was given a relatively large amount of personal freedom, while other members of the Jewish faith were restricted. -
The Parish of St. Vincent Ferrer and St. Catherine of Siena
THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist THIRTY-THIRD SUNDAY IN ORDINARY TIME November 17, 2019 PRELUDE Johann Sebastian Bach Prelude and Fugue in D Major, BWV 532 (1685-1750) INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Jeremiah 29:11, 12, 14; Psalm 84 (85):2 Chant, mode vi Dicit Dominus: The Lord says: Ego cogito cogitationes pacis, I think thoughts of peace, et non afflictionis: and not of affliction. invocabitis me, et ego exaudiam vos: You shall call upon me, and I will hear you; et reducam captivitatem vestram and I will bring back your captivity de cunctis locis. from all places. V. Benedixisti, Domine, terram tuam: V. You have blessed your land, O Lord; avertisti captivitatem Jacob. you have turned away the captivity of Jacob. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE Roman Missal Mass GLORIA Roman Missal Mass 2 COLLECT Grant us, we pray, O Lord our God, the constant gladness of being devoted to you, for it is full and lasting happiness to serve with constancy the author of all that is good. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. LITURGY OF THE WORD FIRST READING Malachi 3:19-20a Lo, the day is coming, blazing like an oven, when all the proud and all evildoers will be stubble, and the day that is coming will set them on fire, leaving them neither root nor branch, says the Lord of hosts. -
Masterpieces for Double Choir
Miller Theatre at Columbia University 2012-13 | 24th Season Early Music Masterpieces for Double Choir The Tallis Scholars Peter Phillips, director Saturday, December 1, 8:00 p.m. Church of St. Mary the Virgin Miller Theatre at Columbia University 2012-13 | 24th Season Early Music Masterpieces for Double Choir The Tallis Scholars Peter Phillips, director Saturday, December 1, 8:00 p.m. Church of St. Mary the Virgin Magnificat Octavi Toni (à 8) Sebastián de Vivanco (1551-1622) Osculetur me Orlande de Lassus (c. 1532-1594) Missa Osculetur me Lassus INTERMISSION I am the true vine Arvo Pärt (b. 1935) Tribute to Caesar Pärt Sancte Deus Thomas Tallis (c. 1505-1585) Magnificat quinti toni Hieronymus Praetorius (1560-1629) interspersed with Jospeh lieber, Joseph mein and In dulci jubilo Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before this evening’s performance begins. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program “…the end of all our exploring will be to arrive where we started and know the place for the first time.” So writes T.S. Eliot in hisFour Quartets, and so it is with tonight’s concert. The evening is book-ended by two thrilling double-choir Magnificats. But while Vivan- co’s setting of this joyful annunciation text leaves the story unfinished, the Praetorius Magnificat with which we close incorporates two Christmas carols among its verses. The promise of the annunciation is fulfilled in the miracle of the Virgin Birth, just as the renaissance textures of Vivanco find themselves fulfilled and transformed in the proto- Baroque music of Praetorius. -
Hieronymus Praetorius
Hieronymus Praetorius Maundy Thursday Missa Tulerunt Dominum meum 1 Orlande de Lassus (1532–1594) Tristis est anima mea [4:10] 2 Jacob Handl (Gallus) (1550–1591) Filiae Jerusalem, nolite [4:48] SIGLO DE ORO | PATRICK ALLIES Good Friday 3 Hieronymus Praetorius (1560–1629) O vos omnes [4:05] 4 Hans Leo Hassler (1564–1612) Deus, Deus meus [3:44] Easter Day 5 Hieronymus Praetorius Tulerunt Dominum meum [6:47] 6 Hieronymus Praetorius Missa Tulerunt Dominum meum – Kyrie [3:02] 7 Missa Tulerunt Dominum meum – Gloria [5:35] Delphian Records and Siglo de Oro are grateful to the Friends and Patrons of Siglo de Oro, Steve Brosnan, Jill Franklin and Bob Allies, Fred and Barbara Gable, Sonia Jacobson, Alan Leibowitz, Séamus McGrenera, Felix and 8 Andrea Gabrieli (c.1533–1585) Maria stabat ad monumentum [5:22] Lizzie Meston, Benedict and Anne Singer and Melissa Scott; to Morgan Rousseaux for sponsoring track 5; and to the Gemma Classical Music Trust for their generous contribution towards the production of this recording. Gemma Classical Music Trust is a Registered Charity No 1121090. 9 Missa Tulerunt Dominum meum – Credo [9:39] 10 Missa Tulerunt Dominum meum – Sanctus & Benedictus [4:04] Siglo de Oro are grateful also to Dr Frederick K. Gable for his help and supervision in the preparation for this disc. The Praetorius motets and mass were edited from the original prints by Frederick K. Gable and the Missa Tulerunt Dominum 11 Missa Tulerunt Dominum meum – Agnus Dei [4:35] meum is published by the American Institute of Musicology in Corpus Mensurabilis Musicae, vol. -
Giovanni Gabrieli's Canzon in Echo Duodecimi Toni
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Open-Access* Master's Theses from the University Libraries at University of Nebraska-Lincoln of Nebraska-Lincoln 4-1968 Giovanni Gabrieli’s Canzon in Echo Duodecimi Toni Donna Kay Van Riper University of Nebraska-Lincoln Follow this and additional works at: http://digitalcommons.unl.edu/opentheses Part of the Music Commons Van Riper, Donna Kay, "Giovanni Gabrieli’s Canzon in Echo Duodecimi Toni" (1968). Open-Access* Master's Theses from the University of Nebraska-Lincoln. 47. http://digitalcommons.unl.edu/opentheses/47 This Thesis is brought to you for free and open access by the Libraries at University of Nebraska-Lincoln at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Open-Access* Master's Theses from the University of Nebraska-Lincoln by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. GIOVANNI GABRIELI'S CANZON IN ECHO DUODECIMI TONI by Donna Kay Van Riper A TiiESIS Presented to the Faculty of The Graduate College in the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Department of Music Under the Supervision of Professor Myron Roberts Lincoln, Nebraska April, 1968 ACKNOWLEDGMENT Tile author wishes to express her sincere appreciation to Professor Myron J. Roberts for his guidance in the selection of a topic and careful supervision during the preparation of this thesis. D. IC. V. R. ii TABLE OF CDNTENTS CHAPTER PAGE INTRODUCTION . 1 I. GABRIEL! AS ORGANIST, TEACHER, AND COMPOSER. • • • • 3 I I • nm CANZON IN EOIO DUODECIMI TONI AND nm CONCERTANTE STYLE •••••••••• . -
Shadows & Light Prague 1585
direction Lucien Kandel Shadows & Light Prague 1585 Jacob Handl (1550-1591) Shadows & Light Jacob Handl Prague at the dawn of the Baroque era Musica Nova Ensemble artistic direction : Lucien Kandel Christel Boiron, Esther Labourdette, Cantus Prague at the dawn of the Jacob Handl, known as ‘‘Gallus’’ Lucien Kandel, Josquin Gest, Contratenors Baroque era (1550-1591) Jérémie Couleau, Thierry Péteau, Tenors Marc Busnel, Guillaume Olry, Bassus Prague at the end of the 16th century is a city of Of Slovenian origins, Jacob Handl pursued a musical remarkable cultural effervescence, to which its career that set him apart amongst the composers of his architecture stands as first witness. In 1583 thetime. Educated far from big cities or princely chapels, Emperor Rudolph II sets it to be the seat of the HolyGallus seems to have acquired his art as a self-taught Roman Empire of the German Nation. The Imperialmusician, while living in monasteries such as Melk in Specialized in the interpretation of Renaissance handwritten or printed works, Musica Nova transfer implied a proliferation of building and Austria or the Moravian monastery of Zábrdovice, near explores incredible pieces of early music, through collaboration with recognized musicologists. renovation initiatives giving a new image to the capitalBrno. His familiarity with liturgical chant became very For the past several years, Musica Nova has been studying the music of Jacob Handl known of Bohemia. From the fortress city profoundly marked apparent in his work, and especially in his preference by Gothic urban architecture gradually emerged as ‘‘Gallus’’, with the help of Marc Desmet, musicologist and world-renowned expert in the for antiphon musical compositions, where two choirs palaces, residences and sanctuaries which combined oeuvre of this composer (biography in appendix). -
Four Motets from the Florilegium Portense D. M. A
FOUR MOTETS FROM THE FLORILEGIUM PORTENSE D. M. A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctoral of Musical Arts in the Graduate School of The Ohio State University By Mark Allen Chaney, B.A., B.M., M.M. * * * * * The Ohio State University 2007 D. M. A. Document Committee: Dr. Hilary J. Apfelstadt, Advisor Approved by Dr. Charles M. Atkinson Prof. Richard L. Blatti Advisor Dr. Robert J. Ward Graduate Program in Music Copyright by Mark Allen Chaney 2007 ABSTRACT In 1618, a German clergyman and musician named Erhard Bodenschatz published a collection of 115 motets under the title Florilegium Portense. A second volume of 150 pieces appeared three years later. Both collections contain motets of five to eight voices mostly in Latin, though a few are in German. They contain works of Hassler, Lasso, Gabrieli, and a host of lesser-known composers—as well as several pieces by Bodenschatz himself. The purpose of the collection was to provide a repertory of motets of high quality for practical liturgical use. The collection includes music by both German and Italian composers, and the style of the music ranges from Palestrina-like counterpoint to Venetian polychoral style. Both volumes were published with a figured basis generalis to facilitate performance with organ accompaniment in the Baroque practice that was just then in its infancy. The Florilegium Portense is an important collection because it was so widely used throughout central Germany; it was still being reprinted a century after its first publication. There is very little published scholarship on the Florilegium Portense. -
5217.Pdf (2.077Mb)
~~h ~33 presents its 12th program I t'! ."". of the 1988-89 season: / 1, - ~ -~ QJ~ .rl)'- . THE MADRIGAL SINGERS ~ '; . I,' Joan Catoni Conlon, Director . .... ' COLLEGIUM MUSICUM Margriet Tindemans, Director School of - 111 Music University of- _- Washington or - .,-f 'r: . rA £. • . - -- /1- Program oJ Cnnstmas ~:;VLUStC ..... from the %idd[e Jlges and2\?naissance December 5 and 6, 1988 8:00 PM, Brechemin Auditorium l C! J:fffI L) ,9 ijb .' . PROGRAM From Orient lands An ass came, Handsome and strong, THE COLLEGIUM MUSICUM An excellent beast of burden. Throughout the ages Christmas has been the occasion for exuberant Hey, ho, hey, Sir Ass, and hey! festivities within and outside the church. The miracle of the birth of In the hills of Sichem Jesus Christ from the Virgin Mother continues to capture our imagina He was raised by Reuben, tion as it has done for centuries. Christmas was the time when the He crossed over the Jordan community of believers actually participated in the church rituals. And sped into Bethlehem. Elements of ancient folklore, even traces of older pagan ri tes were tol Hey, ho, hey, Sir Ass, and hey! erated by the Church officials at Christmastime as a means of bringing the faith closer to the people. He leaped higher than a stag, Musically speaking, it is in the medieval songs for the Christmas An antelope or chamois, season that we can catch a glimpse of the musical tradition of the lower Faster than the dromedaries classes, a tradition that because of its entirely oral transmission is From distant Media. -
Splendour Golden Age of North German Organ Music
1 Splendour Golden Age of North German Organ Music On the shores of the Baltic and the North Sea, the prosperous Hanseatic League had a considerable influence on musical life, boosted by the economic and commercial development of several European countries (Italy, Netherlands, Flanders, Spain, Portugal, England…). Cultural exchanges were far more efficient and speedy than we could imagine today. This is the context into which the Golden Age of Organ Music was born. A generation of remarkable musicians testify to this, favoured by exceptional instruments with, for instance, the pedalboard that Antonio de Cabezón and certain of his colleagues had dreamed of. The present recording includes organ works by the Praetorius family (Hieronymus, Jacob (ii), Johann), a musical dynasty from Hamburg, founder of the Nordic School, by Scheidemann, Tunder, Weckmann, Buxtehude and Böhm. With the exception of Scheidemann, prolific composer of organ and keyboard works, all of them also wrote magnificent vocal works. Similarly to Chorales used by Lutheran churches, both church music and the secular repertoire were also used for concerts, for instance during the Lübeck Abend-Musiken or at the Hamburg Collegium Musicum. Thus the organist’s role was not solely to awaken devotion. “With what joyfulness” says Johann Kortkamp, pupil of Jacob (ii) Praetorius and friend of Weckmann, the audience rejoiced in “the high festival days…” In 17th century sacred Nordic music, there is not only the influence of solemn ceremonies, rhythmical and majestic in the German-Venetian polychoral style, performed from the Italian cathedral galleries, but also a real treasure of Italian affetti, as well as ingredients from the baroque scene, including all forms of aria, dance, sublime lamento, canzona, dramatic recitative, even the bold approach of the sprezzatura. -
Program Note Our Program in June 2019 Recalled One of the Largest Organist/Organ Builder Gatherings Ever, in August 1596
Program Note Our program in June 2019 recalled one of the largest organist/organ builder gatherings ever, in August 1596. In the countryside castle of Duke Heinrich Julius of Braunschweig-Lünenburg (b. 1564), a new organ by local builder David Beck was unveiled and inspected by a group of at least 54 mostly unrelated musicians. Located in the village of Gröningen, just slightly northeast of Halberstadt in north-central Germany, the castle had been renovated with a new wing and a large chapel about the size of Boston’s First Lutheran Church – where much of tonight’s program is centered. The duke had been administrator of the bishopric of Halberstadt since his youth, in addition to other duties associated with three separate courts in Wolfenbüttel, Gröningen and Hessen. Gröningen seemed to be his favorite among the residences, partly due to rich hunting grounds surrounding the area, and perhaps partly because the renovated wing, chapel and organ provided his personal, enduring stamp on buildings originally built by his ancestors. It was also the closest to Halberstadt, where another David Beck organ reigned gloriously in the cathedral and where Heinrich Julius probably played when he could. The organ congress gave him another personal stamp on Gröningen castle, as it was talked about for over a century afterwards and attracted numerous tourists. Johann Mattheson, the composer and theorist, paid a visit as late as 1706. The 54 prominent players and builders, invited from across the German realms – free cities of the Hansa league, courts, bishoprics – were present for almost a week of playing and testing the organ, housed and fed at the duke’s expense. -
Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)*
Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)* Marta HULKOVÁ Comenius University, Faculty of Arts, Bratislava Gondova 2, SK-81499 Bratislava, Slovakia E-mail: [email protected] (Received: September 2014; accepted: December 2014) Abstract: Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely. Keywords: organ tablature books, Leutschau/Lőcse/Levoča Music Collection, Plotz, Šimbracký, Marckfelner Introduction Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely Studia Musicologica 56/1, 2015, pp. -
Great Sacred Music Sunday, December 13, 2020
Great Sacred Music Sunday, December 13, 2020 William Billings: A Virgin Unspotted Chanticleer John Dunstable: Ave maris stella The Binchois Consort, Andrew Kirkman Alexandre Guilmant: Noel languedocien, Communion No. 2 in F minor, Op. 60 Robert Delcamp, organ Casavant organ of All Saints' Chapel, University of the South, Sewanee, Tennessee William Billings (1746-1800) was an early American composer of choral music. John Dunstable (or "Dunstaple", c1390-1453) was an English composer of the late medieval and early Renaissance eras. “Languedocien” refers to a dialect spoken in southern France. Hieronymus Praetorius: Gaudete omnis The Cardinall's Musick, Andrew Carwood Jean-Nicolas Geoffroy: Magnificat Le Concert Spirituel, Herve Niquet Claude Balbastre: Noël "Tous les bourgeouis de Châtre" Marie-Claire Alain, organ 1679 Castie/Callinet/Kern organ in the Cathedral Saint-Theodorit d'Uzès A motet for Advent, "Gaudete Omnes" was first published in 1599. Jean-Nicolas Geoffroy (1633-1694) was an expert organ builder. French organist Claude Balbastre (1724-1799) was organist of Notre Dame CAthedral and Eglise St. Roch in Paris. Commentary: Dr. Gerard Manecke J.S. Bach: Opening chorus from Cantata 140, "Sleepers, Awake!" CBC Vancouver Orchestra; Tudor Singers of Montreal, Wayne Riddell Rosemarie Landry, soprano; Ben Heppner, tenor; Mark Pedrotti, bass Claudio Monteverdi: Laudate pueri from Vespers of the Blessed Virgin Choir of King's College, Cambridge; Early Music Consort of London Philip Ledger "Sleepers, Awake" (BWV 140) is one of Bach’s best-loved works and is the familiar theme for our overnight program, "Sleepers Awake". Claudio Monteverdi’s Vespers of the Blessed Virgin dates from 1610.