DOCSLIB.ORG

Geluit Luthinerie # 61 Maart Mars March

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Geluit Luthinerie # 61 Maart Mars March België—Belgique VU / ER : Greet Schamp, Pr. Boudewijnlaan 133, 2650 Edegem 2650 Edegem 1 P8002002 8/4660 GGGeluiteluit----LLLuthinerie Driemaandelijkse uitgave van de Belgische Luitacademie Publication trimestrielle de l'Académie belge du Luth N°61 03/ 2013 sponsor dito Christine Ballman EEE Présidente Voici notre numéro de printemps 2013. Vous y trouverez deux exemples musicaux, du neuf et de l’ancien, l’annonce de la parution prochaine du livre de Godelieve Spiessens sur les musiciens anversois. Le prochain festival européen se profile à l’horizon, il se tiendra à Utrecht les 30 août et 1er septembre prochains. A cette occasion sera publié un magnifique fac-similé des œuvres de Nicolas Vallet ainsi qu’un double CD et encore un livre illustré sur The Lute in the Dutch Golden Age: Musical Culture in the Netherlands ca. 1580-1670. Un rendez- vous à ne pas manquer, de quoi finir les vacances d’été en beauté. an de redactie Greet Schamp Sommaire / Inhoud VVV Vice voorzitster Edito/Van de redactie p. 1 Dit jaar helaas geen luitdag in het ons inmiddels al zo vertrouwde Agenda p. 2 SFL Journées du luth p. 4 kasteel de Renesse, maar waarom zou u de luitdag van onze NLV luitdag 13 april p. 4 Noorderburen eens niet bezoeken in Deventer, op 13 april, of de Antwerpse Speellieden p. 5 Journées du luth van de SFL in Parijs, nog in de paasvakantie? Chitarrone francese p. 6 (info zie agenda) Cd’s p. 4 & 8 Rumeurs Geruchten @ Internet p. 10 Einde mei is er mogelijkheid een luitcursus te volgen bij Alfredo Publicaties NLV Vallet luit Gouden Eeuw p. 11 Fernandez aan het Cervantesinstituut in Brussel. Raadpleeg Luitfestival Utrecht aug. 2013 p. 12 steeds onze website voor meer actuele informatie, want momen- Buitenlandse tijdschriften p. 14 teel zijn de besprekingen hieromtrent nog aan de gang, hij zal wel- Music For Lute and Laptop p. 15 Editions p. 16 licht op zondag 26 mei een recital geven in het MIM. Muziekbijlage Supplément musical p. 16 Het internationale luitfestival eind augustus in Utrecht begint al Soedansdochter G. Isbin p. 17 concreter ingevuld te raken, er zijn weer mooie nieuwe cd’s en Pavana W von Harling p. 18 uitgaven, veel leesplezier! Stemsigaar p. 19 Cotisation-Lidmaatschap 2013 p. 20 Colofon p. 20 GeluitGeluit————LuthinerieLuthinerie n° 61 03/2013 p. 222 AAA genda http://www.lute-academy.be/xlagenda325-fr/ 1/03/2013 20:00 CC BELGICA Kerkstraat, Den- dermonde ‘ Pastor de Amor-3 Mundos porla Paz ’, FaridaZouj:zang/chant, AntonioPaz: flamenco- zang/chant flamenco, MichelGillain: flamencogi- taar/guitare flamenco, Jean-Lou Descamps: vi- ool,vedel/vielle,violon, Christophe Deslig- nes:organetto, Frédéric Malempré: percussie, Phi- lippe Malfeyt: Ud,theorbe,vihuela,colascione/ Nicolas Cleynaerts compositions,arrangements programma rond Nico- las Cleynaerts cfr. Geluit Luthinerie nr 54. 02/03/2013, HERENT: Zefiro Torna - Tears of Joy 07/03/2013 19:00 19:30 20:00 BOZAR Brussel- Bruxelles La Musicienne Délicate - Penélope Mara- valhas (luth & guitare baroque) fait partie de l'expo- sition ANTOINE WATTEAU - La leçon de Musique. Alors, il s'agit d'un programme de musique de l'épo- que et du contexte ou vivait Watteau. recital Pe- nélope Maravalhas in het kader van de Watteau- tentoonstelling speelt Penélope een recital om het half uur. €10, red. €8, €6, prof. €4 16/03/2013 15.30 CC Huis Hellemans, Strijders- straat, Edegem Bachfestival m.m.v. luitklas G. Schamp met o.a. de cellosuite BWV 1007 in een bewerking voor renaissanceluit, BWV 995, en uit het Notenbüchlein van A.M. Bach verschillende als duet gearrangeerde stukjes. Gratis toegang (let op! beperkt aantal plaatsen) mits reservering op [email protected] 16/03/2013 20:00 Orgelzaal conservatorium Geerwijnstraat 6, Brugge Pandora² en Ultreya Cd voorstelling Liederen uit het Gruuthuse manu- script La finette ou La Musicienne Délicate 1717 Toegang gratis http://www.duo-ultreya.be/ Expo Antoine Watteau BOZAR nederlands/muziek/home.muziek.html 19/05/2013 17:00 Rosario Poreel 10a, Bever, Airs 26/03/2013 Dinant Ultreya de cour, Stéphane Van Dijck & Jurgen De Bruyn, 27-28/03/2013 10:00-19:00 La musique baroque luit gitaar brengen hoofs werk van Pierre Guedron, en questions Conservat. Brussel Bruxelles Antoine Boesset, Etienne Moulinié, Sebastien Le 17/05/13 12:30 Paleis van Karel van Lotharingen, Camus, Joseph Chabanceau de la Barre, Michel Museumplein 1 Brussel: Capriola Di Gioa: Bononci- Lambert et Antoine Charpentier. ni, Corelli, Scarlatti door A. Dieltiens, sopr. , J. De bruyn, theorbe&chitarra, R. Lischka, gamba, B. €18 of €45 met drie gangen maaltijd. Naessens, klavecimbel & orgel. Toegangsprijs 5€ Rosario: [email protected] info www.kbr.be , [email protected] , tel 054 58 68 20 tel +32 2519 5751 GeluitGeluit————LuthinerieLuthinerie n° 61 03/2013 p. 333 Het duo Ultreya werd opgericht in 1990 en be- staat uit Martina Diessner en Peter Van Wonterghem. Beide muzikanten onderscheiden zich in het vertolken van oude muziek en traditio- nele muziek op een uitgebreid instrumentarium. Samenwerking met andere muzikanten heeft geleid tot de folkgroep Boreas. Ultreya werkt ook regelmatig samen met de spe- cialisten in oude muziek van Pandora². Speciale programma's werden gerealiseerd in samenwerking met Jan Huylebroeck (orgelconcert), Ishtar (Livinius), kamerkoor El Grillo (Libre Vermell), kamerkoor Ultreya (Ultreya Gespiegeld). Gruuthuse : Een samenwerking tussen Pando- ra² en Ultreya . Een eigen transcriptie van de originele streepjesnotatie door Martina Diessner met als andere musici Peter Van Wonterghem, Bart Roose, Sylvia Broeckaert en Marcel Ketels- Bezoek ook hun website: http://www.duo-ultreya.be/nederlands/muziek/home.muziek.html GeluitGeluit————LuthinerieLuthinerie n° 61 03/2013 p. 444 JJJ ournées du luth Paris _SAMEDI 16 & DIMANCHE 17 MARS 2013_ LES JOURNÉES DU LUTH DE LA SOCIÉTÉ FRANÇAISE DE LUTH !_ Chapelle 3 Place St Thomas d'Aquin 75007 Paris - Concerts, Luthiers, Vente de partitions et de CDs Samedi 16 mars - 14h : Ouverture de l'exposition des luthiers - 15h : Elèves d'Evreux (27), du Plessis-Bouchard et Herblay (95), (Professeur Leonardo Loredo). John Dowland, Cancionero de Palacio, dan- ses françaises et italiennes. - 17h : Ensemble Anamorphoses (Alice Glaie, sopra- no - Justin Glaie, théorbe et lirone - Romain Falik, théor- Chapelle St Thomas d'Aquin be et guitare - Nils de Dinechin, violoncelle). Naissance du baroque, de Rome à Venise. Œuvres de Monteverdi, Frescobaldi, Landi, Rossi, Piccinini … - 20h (précises !) : Ensemble Céladon (Clara Coutouly, soprano - Paulin Bündgen, Contre-ténor - Nolwenn Le Guern, vièle à archet - Gwénaël Bihan, flûte à bec - Lud- win Bernaténé, percussion - Florent Marie, luth médi- 17h : Les Luths Consort : Kapsberger polyphonique. éval). Avec Véronique Bourin (soprano) et :- Les Luths Con- Nuits Occitanes : Chansons de Troubadours (Bernard sort : Vincent Maurice (guitare baroque, théorbe), Leo- de Ventadour, le Chevalier de Peirol, Béatrice de Die). nardo Loredo (luth alto), André Henrich (archiluth, théor- be), Miguel Henry (luth soprano, guiterne, ceterone) Dimanche 17 mars - Ensemble D-Mesure : Benjamin Bédoin (cornet à bou- - 10h : Assemblée Générale de la SFL quin et cornet muet), Jérôme van Waerbecke (violon), - 13h : Ensemble Enthéos (Sophie Pattey : Anne Dumont (sacqueboute), Daniel Savoyaud Soprano, Pierre Sciama : Contre-ténor, Solène Riot : (sacqueboute). flûtes à bec et traversière, flûte à une main et tambour, cornets, Julia Griffin : Viole de gambe, Céline Ferru : Entrée libre, sauf samedi soir : 12 EUR. Petite participa- luth, Benoît Damant : ténor et direction). Un Cabaret tion aux frais pour le concert-dégustation de dimanche Renaissance : Concert dégustation (chansons d'amour 13h (Arrivez tôt !) et à boire de Claudin de Sermisy, Pierre Cléreau, Pierre Renseignements : -Société Française de Luth Certon, Roland de Lassus...) 48 rue Bargue 75015 Paris - 15h : Peter Martin, luth Renaissance : le Manuscrit Hol- Tel. 01 45 66 73 05 mes (John Dowland, John Johnson, Edward Collard, courriel : [email protected] Melchior Newsidler ...) site : www.sf-luth.org - N LV Luitdag 13 april 13 Deventer NLV Luitdag zaterdag 13 april in Deventer van 12- 18u.Christian Gutiérrez speelt er barokgitaar en Earl Christy (die al eens aanwezig was op een van onze luitdagen in Brussel) speelt barokluit. Adres: Synagoge Golstraat 23, Deventer meer info bij secretaris Cora [email protected] GeluitGeluit————LuthinerieLuthinerie n° 61 03/2013 p. 555 AAA ntwerpse speellieden, het volgende boek van Godelieve Spiessens Dr. Godelieve Spiessens, onze trouwe weten- schappelijke medewerkster die talloze luitgerela- teerde artikels publiceerde o.a. in haar reeks Ant- werpse Luitslagers, werkt momenteel aan de laat- ste correcties van haar boek over de Antwerpse speellieden. U ziet haar hier aan het werk in het Antwerpse Felixarchief bij het raadplegen van de Rekestboeken waarin de ‘Gaegien’ van de ‘Speelieden’ of ‘Speelluyden’ de schrijfwijze ver- schilt al wel eens, dat zijn dus de bedragen die heel nauwkeurig vermeld staan in dit dikke boek, ze geven ons een idee van de inkomsten van de- ze muzikanten. De Antwerpse stadsspeellieden moeten op het toneel verschenen zijn tegen 1411, maar pas sinds 1530 vindt men berichten over hen in de stadsrekeningen. In 1794, werd de al- oude instelling van de stadsmuziek door de Fran- se bezetter afgeschaft, evenals alle andere am- bachtsgilden van het Ancien régime. Weldra hoort u van ons meer over wanneer deze uitgave verschijnt en hoe u ze kunt bestellen. A book about the Antwerp city Pipers by dr. Godelieve Spies- sens will be published soon. The Antwerp city pipers must ha- ve appeared around 1411, but only since 1530 they are regular- ly mentioned in the city archives. In 1794 the secular institution of the city music was suspended by the French occupant together with all other corporations. Godelieve Spiessens, l’infatigable chercheur de la vie musicale anversoise, met la dernière touche à son dernier livre sur les joueurs d’instruments an- versois. Dans les photos ci-jointes vous la voyez au travail dans les archives où sont mentionnées les détails concernant la vie de ces musiciens.
Load more

Recommended publications
  • El Estilo Español De Construcción De Guitarras
    El estilo español de construcción de guitarras Julio Gimeno García En 1822, el gran guitarrista catalán Fernando Sor (1778-1839) estaba viviendo en Londres, ciudad a la que había llegado en 1815. La estancia londinense de Sor es uno de los periodos de su vida en los que alcanzó mayor fama y reconocimiento. No obstante, a finales de 1822 o más probablemente a principios de 1823, Sor abandona la capital inglesa para no regresar nunca más. El biógrafo de Sor, Brian Jeffery se pregunta el porqué de esta sorprendente decisión del guitarrista, cuyo motivo hay que buscarlo en una jovencísima bailarina llamada Félicité Hullin, de la que Sor se enamoraría y a la que seguiría en su peregrinaje por varias capitales europeas camino de Rusia, donde Félicité lograría el puesto de prima ballerina del Ballet de Moscú.1 Félicité Hullin En Londres, Sor conoció al guitarrero Joseph Panormo (1768-1834),2 uno de los cuatro hijos de Vincenzo Panormo (1734-1813), patriarca de esta familia de constructores de instrumentos musicales. Vincenzo había nacido en la ciudad siciliana de Monreale, estableciéndose con sus hijos en Inglaterra en 1789.3 En Londres, a lo largo del siglo XIX, varios miembros de la familia Panormo abrieron talleres de 1 Jeffery 1994. 2 Sor nombra a Joseph Panormo en su Méthode pour la guitare, donde el guitarrista dice, refiriéndose a un nuevo modelo de puente: “La experiencia la demostré en Londres, donde el señor J. Panormo construyó algunas guitarras bajo mi dirección, al igual que el señor Sroeder en Petersburgo” (Sor 1830: 7). Las traducciones al castellano del Méthode de Sor, son del autor de este artículo.
    [Show full text]
  • El Estilo Español De Construcción De Guitarras
    Isabella d’Este and the “Spanish” Vihuela Julio Gimeno Throughout history, we often find the terms “Spanish”, “Spanish style” or something similar applied to string instruments. This qualifier might refer to the place of origin of the instrument, its external aspect, the system used in its construction and/or some organological details. Lastly it might also allude to characteristics of the sound. On many occasions it seems that these terms are applied where there is a confluence of several of these factors. Let us examine the case of Isabella d'Este and the vihuela which she had made with a “Spanish” body. In 1495, the renaissance patroness of the arts Isabella d'Este (1474-1539), Marchioness of Mantua travelled to Milan and Pavía to celebrate the birth of Francesco Sforza, the son of her sister Beatrice d'Este, duchess of Milan. In Pavía, Isabella was able to examine a clavichord belonging to her sister, built by Lorenzo Gusnasco, also known as Lorenzo de Pavía (born between 1470 and 1475 and deceased in 1517).1 On the 12 of march of 1496, Isabella wrote to Lorenzo de Pavía to order a clavichord for herself that should be “easy to play because we have such a light touch that we are unable to play well when it is necessary to force because of the stiffness of the keys.”2 1 Prizer 1982: 92. William F. Prizer suggests the possibility that Isabella might have been exposed to Lorenzo's work on a previous trip to Pavía, en 1791 on the occasion of her sister Beatice's wedding.
    [Show full text]
  • Instrument Building and Musical Culture in Seventeenth-Century Malta
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Instrument Building and Musical Culture in Seventeenth-Century Malta: the luthier Mattheo Morales by Anna Borg Cardona Thesis for the degree of PhD Music Submitted November 2017 The research work disclosed in this thesis is partly funded by the Malta Government Scholarship Scheme UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy INSTRUMENT BUILDING AND MUSICAL CULTURE IN SEVENTEENTH-CENTURY MALTA: THE LUTHIER MATTHEO MORALES Anna Borg Cardona By the seventeenth century, Malta had become a nucleus of cultural activity. It provides us with totally new perspectives on the production and consumption of music within a Mediterranean context.
    [Show full text]
  • English Harp Guitar, That Has Additional Five Watch-Key Tuning and a Smith Patent Box)
    Chevalier Thys de Castella wishes to thank Emiliano Marinucci for his long work on the collection that has given birth to this catalogue. Emiliano Marinucci The collection Chevalier Thys deCastella A musical baroque cabinet des merveilles B4BAROQUE instrument’s choices in sounds. The brightness, Foreword clearness is favored, darker tones are more atmospheric yet rich. The piano has a lute register, the harp a dry touch that gives a distinct perfume of A Collection is an image of a search that happens nobility, just like in Dussek’s contemporary sonatas through time, it develops, like an idea, a feeling. A destined to Marie Antoinette de France. true love, and time is the key element, in the birth of So we have a display of Europe, testified from a this collection as in music. This is what the collection complete view of exclusive aristocratic soprano is about. Time and the extravagant shapes and lutes (pandurine), a chitarra battente by Vinaccia sounds of the baroque world. that has no equal, into the extravaganzas of the Chevalier Thys waited, chose, traveled, through their hurdy-gurdy’s, and the poetry and intimacy of the sounds and shapes like following a story, like the English experimental citterns and guitars. one of his family, linked to the military history of And the violin family with her astounding Switzerland. experiments that reveal to a modern ear that Music always was a persistent part of Chevalier instrument makers and composers always worked Thys’s life, accompanying him through times together. We have here one of the only six contralto and places.
    [Show full text]
  • The Stringing of the 5-Course Guitar
    THE STRINGING OF THE 5-COURSE GUITAR Monica Hall Introduction This is a survey of information about the stringing of the 5-course guitar in the 17th and early 18th centuries, taken from original documents of the period. It is not exhaustive, but it includes the most important sources. The guitar was double strung - that is each "course" comprised two strings, although the first course was usually a single string. It was tuned in 4ths with a major 3rd between the second and third courses. Scordatura or irregular tunings were often used, but do not affect the way in which the instrument is strung. When pitch is indicated, the first course is usually tuned to the nominal pitch e’ as on the classical guitar, although a few sources give d’ as an alternative. The strings of the second and third courses were tuned in unison. The main part of this survey deals with the different methods of stringing the fourth and fifth courses, with or without low octave strings (usually referred to as bourdons ). It is arranged under three main headings – 1. Spain; 2. Italy; 3. France, England and the Netherlands (including Belgium). This arrangement is intended to bring together information from clearly defined geographical areas, written in the same language, Spanish, Italian and French. There are some exceptions. Briçeño's book is in Spanish but was printed in France and GB:Och Ms.1187 is in English; both are included in the section dealing with France etc. Corbetta was Italian by birth but spent much of his career in England and in France.
    [Show full text]
  • Carlo Gesualdo Da Venosa E La Trasmissione Dell'arciliuto a Napoli E Nell'italia Meridionale
    Philomusica on-line “Gesualdo 1613-2013” Carlo Gesualdo da Venosa e la trasmissione dell’arciliuto a Napoli e nell’Italia meridionale* Luigi Sisto Conservatorio di musica di “San Pietro a Majella”, Napoli [email protected] § Il presente contributo fornisce una § This essay is an overview of the lettura delle vicende che accompagna- diffusion of arciliuto in Naples and rono la diffusione dell’arciliuto a southern Italy in the early XVIIth Napoli e nel meridione d’Italia nei Century. primi decenni del Seicento. Although the Duke Alfonso II of Se alla sua progettazione e prima Este and the liutist Alessandro realizzazione, presso la bottega Piccinini contributed to the design padovana del tedesco Cristofaro Eberle, and achievement of the paduan shop contribuì sensibilmente il duca Alfonso of the german lute maker Cristofaro II d’Este, ma soprattutto il liutista Eberle, Gesualdo da Venosa – Alessandro Piccinini, certamente nella together with other german lute diffusione di questo nuovo esemplare makers – played an important role in nei territori meridionali (Napoli e il the its diffusion in Naples and in feudo di Gesualdo principalmente), Gesualdo’s feud. ebbe un ruolo significativo il principe di This article traces back the Venosa, insieme ai tanti liutai tedeschi relationship between Alfonso II and migrati in Italia in età moderna. Gesualdo, who received two of the In questo articolo si ricostruiscono three Eberle’s arciliuti and the dunque i rapporti tra Alfonso II d’Este e relationship between Gesualdo and Gesualdo, destinatario di due dei tre Kapsberger, the latter being lately to arciliuti realizzati da Eberle, le relazioni be responsible for the diffusion of tra Gesualdo e Kapsberger, probabile tiorba in Naples.
    [Show full text]
  • Chitarra Mandola
    GLI STRUMENTI MUSICALI NELLA ICONOGRAFIA CREMONESE ED EUROPEA: (prof. Mario Maggi – 1916- 2009 – insegnante Scuola Internazionale di Liuteria e solista di viola alla Camerata di Cremona) Si è scelta la classificazione organologica HS : cordofoni, 3.1.1 Cordofoni semplici 3.1.2 Cordofoni a tastiera, a corde pizzicate 3.1.3 Cordofoni a tastiera, a corde percosse 3.1.4 Cordofoni a tastiera, a corde sfregate 3.2.1.1 Cordofoni composti, corde parallele alla cassa armonica, a pizzico 3.2.1.2 Cordofoni composti, corde parallele alla cassa armonica, ad arco 3.2.2 Arpe 3.2.3 Arpe liuto CHITARRA E SUOI PRECURSORI Cantastorie, «sartori e calzolai» secondo Praetorius, barbieri ma anche osti e contadini, preferivano al liuto strumenti con un suono meno delicato, a quattro cori, sicuramente più potente per l’armatura di corde metalliche. Le lontane origini del nome di questi strumenti derivano da Citera, l'isola nella quale secondo il mito di Esiodo, è nata Afrodite o Venere la dea dell’amore. Giorgio Anselmi da Parma ,autore di “ De musica” (1434), immaginando lo stretto legame tra musica ed armonia delle sfere teorizza gli intervalli diatonico, cromatico ed enarmonico e li applica non solo al canto ma pure alla “cithara” a tasti. Lo strumento (cithara, cister, cittern, cistre, cistro, citola) assume sempre più dignità quando verrà classificato organologicamente come cethara da Lanfranco (maestro di cappella nella Cattedrale di Brescia dal 1528 al 1535 e dal 1540 al 1545 in Santa Maria della Steccata a Parma) in Scintille di Musica (1533), accanto all’arpa, al liuto (a sei ordini di corde) , ai “Violoni da tasti et da Arco” e violette da braccio senza tasti.
    [Show full text]
  • Alfabeto Dans Le Développement De La Pensée Harmonique En Italie, 1600-50
    UNIVERSITÉ PARIS-SORBONNE ÉCOLE DOCTORALE V : CONCEPTS ET LANGAGES Laboratoire de recherche « Patrimoines et Langages Musicaux » THÈSE pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE Discipline : musicologie Présentée et soutenue par Aidan O’DONNELL Le 5 février 2011 Le rôle de l’alfabeto dans le développement de la pensée harmonique en Italie, 1600-50 Sous la direction de : M. le Professeur Nicolas MEEÙS Université Paris-Sorbonne JURY Mme la Professeure Raphaëlle LEGRAND Université Paris-Sorbonne M. le Professeur Thomas CHRISTENSEN Université de Chicago M. le Professeur Rudolf RASCH Université d’Utrecht REMERCIEMENTS Je me dois de remercier tout d’abord Monsieur le Professeur Nicolas Meeùs qui a su diriger ce travail depuis les recherches préliminaires du DEA jusqu’à son présent état. Il a accepté la direction d’une recherche qui était plutôt vague dans sa conception initiale et m’a transmis l’importance de la précision sur tous les niveaux pendant les six ans de ce travail. Je tiens également à remercier le personnel des nombreuses bibliothèques étrangères qui m’ont apporté une aide incontournable lors de mes déplacements pour l’étude des sources à l’étranger, notamment les équipes du B-Bc, B-Br, D-B, GB- Lbm, I-Bc, I-Bu, I-Fn, I-Mc, I-MOe, I-Rc, I-Rsc et I-Rvat. D’autres bibliothèques ont répondu à distance à mes demandes de renseignements sur certaines sources, notamment GB-Ge, US-Bp, US-CAe et US-Wc. Pourtant, c’est bien la Bibliothèque Nationale à Paris qui a été la première ressource pour les recherches menées au cours de cette thèse.
    [Show full text]
  • The Chitarra Atiorbata and Guitare Theorbיe
    1 The Chittarra Atiorbata and the Guittare Theorbée : a re-appraisal. Monica Hall Revised 2020 Giovanni Battista Granata’s fourth book of music for five-course guitar, ‘Soave concenti di sonate musicali’, printed in Bologna in 1659, includes five pieces for the chittarra atiorbata (pages 97-114) and the manuscript ‘Pieces de guittarre de differendes autheures recueillis par Henry François de Gallot’, (GB-Ob Ms.Mus.Sch.C94), copied from 1660 onwards, twelve pieces for the guittare theorbée (folios 100v-101v). In both sources the instrument in question has five stopped courses on the fingerboard and seven open bass strings or diapasons. It is often assumed that these pieces are intended to be played on the same instrument. This is however questionable. Tuning and stringing arrangement Neither source includes any information about how these instruments were tuned, nor how they were strung. The intervals between the courses must be deduced from the music. This is not always as simple or straightforward as it might seem. The stopped courses of Granata’s instrument are clearly tuned to the standard intervals for the five-course guitar and it is generally assumed that these were tuned to the same (nominal) pitch with the fourth and fifth courses octave strung – e’ - bb – gg - dd’ - Aa However, it is evident from the music that the stopped courses of Gallot’s instrument do not conform to this arrangement. It has been assumed in the past that this was tuned to a major or minor common chord with the first course tuned to the same pitch as the standard guitar.1 e’ [flat] - c’c’ – gg – ee’ [flat] – cc’ Nothing in the manuscript indicates that this is so.
    [Show full text]
  • OC 1894 Englhuber – Camerloher Booklet V05.Indd
    ® PLACIDUS VON CAMERLOHER (1718–1782) SOLO PER LA GALLICHONE [PARTHIA I]1a [01] Andante*. 04:28 [02] Allegro . 02:58 [03] Menuet* . 03:01 DUETTO. / GALICHONE. PRIMO. / GALICHONE 2DO.1a, 2 [04] Tempo giusto* . 03:34 [05] Echo* .................... .................... 02:19 [06] Quique*. 01:50 SOLO PER LA GALLICHONE [PARTHIA II]1A [07] Andante ex B. 04:34 [08] Allegro*. 04:02 [09] Menuet*. 03:23 TRIO EX C / A / GALLICHONA PRIMA / GALLICHONA SECONDA / CON VIOLONZELLO1a, 2, 5 [10] Andante . 02:35 [11] Allegro. 04:14 [12] Menuet. 04:17 [13] Allegro. 04:07 SOLO PER LA GALLICHONE [PARTHIA III]1b [14] Adagio*. 03:20 [15] Allegro*. 02:29 [16] Tempo di Menuet*. 02:04 SOLO PER LA GALLICHONE [PARTHIA IV]1c [17] Menuet*. 01:35 [18] Allegro*. 02:35 [19] Menuet*. 01:26 3 PARTHIA EX F. / À / GALISCHONA / VIOLINO PRIMO / VIOLINO 2DO. / CON / BASSO.1a, 3, 4, 5 [20] Siciliana* . 04:51 [21] Menuet*. 02:44 [22] Paisan*. 03:19 [23] Menuet*. 02:34 [24] Finale Allegro*. 02:00 * Ersteinspielungen / World Premiere Recordings INTERPRETEN: Christoph Eglhuber – Laute Achtchörige Gallichon in d' (H. Hasenfuss 2015 nach Weigert; Finalisierung: J. Kreisel 2016) ............................................1a Zehnchörige Mandora in e' (M. Shepherd 1996 nach Frey) ....................1b Sechschöriger Colachon in a (M. Salerno 2014 nach Schorn) ...................1c Hans Brüderl – Laute Achtchörige Gallichon in d' (G. Söhne 2008 nach Venere) ......................2 Theona Gubba-Chkheidze – Barockvioline Violine: Anonym, deutscher Sprachraum um 1800 .............................3 Angelika Fichter – Barockvioline Violine: Anonym, 18. Jh. nach Klotz ........................................4 Sabina Lehrmann – Barockvioloncello Violoncello: Anonym, Frankreich ca. 1780 ...................................5 Stimmton: a' = 440 Hz, mitteltönige Temperatur (1/6 pK) TOTAL 74:32 4 PLACIDUS VON CAMERLOHER UND DIE LAUTE lacidus Cajetanus Laurentius Camerloher bischof von Lüttich auf Schloss Seraing (1753, Pwurde am 9.
    [Show full text]
  • GLI STRUMENTI MUSICALI NELLA ICONOGRAFIA CREMONESE: (Prof. Mario Maggi – 1916- 2009 – Insegnante Scuola Internazionale Di Li
    GLI STRUMENTI MUSICALI NELLA ICONOGRAFIA CREMONESE: (prof. Mario Maggi – 1916- 2009 – insegnante Scuola Internazionale di Liuteria e solista di viola alla Camerata di Cremona) Si è scelta la classificazione organologica HS : cordofoni, 3.1.1 Cordofoni semplici 3.1.2 Cordofoni a tastiera, a corde pizzicate 3.1.3 Cordofoni a tastiera, a corde percosse 3.1.4 Cordofoni a tastiera, a corde sfregate 3.2.1.1 Cordofoni composti, corde parallele alla cassa armonica, a pizzico 3.2.1.2 Cordofoni composti, corde parallele alla cassa armonica, ad arco 3.2.2 Arpe 3.2.3 Arpe liuto MONOCORDO Il Monocordo è strumento teorico e didattico. Già nel primo dopoguerra il prof. Mario Maggi (insegnante e musicista cremonese 1916-2009) recupera le esperienze di Pitagora per i suoi studenti. Un recupero filologico nella tradizione classica e cremonese rileggendo gli appunti di Don Giuseppe Fedeli (sec. XVIII), applicando le nozioni di Werkmeister, Vallotti e Bach nel temperamento equabile applicato al clavicembalo, viola tastata da gamba, vibrafono e pianoforte, studiate all’Odeion di Atene. (ingrandisci) Chiave per affrontare con i propri studenti le basi della fisica acustica ma anche per una più profonda lettura ermeneutica dei testi classici un esempio Il Vespro della Beata Vergine di Monteverdi (1610) in cui la musica (iconologia dell’ascolto) introduce a temi letterali, allegorici, morali ed escatologici ma anche ad esperienze alchemiche e astrologiche che Monteverdi dichiara nelle sue lettere e che condivide con il pensiero di Maier nell’ Atalanta fugiens (1617) CHITARRA E SUOI PRECURSORI STRUMENTO: chitarra, vihuela de mano UBICAZIONE, ATTRIBUZIONE E DATAZIONE:– Cremona - S.
    [Show full text]
  • Approaches to Accompaniment on the Baroque Guitar C.1590-C.1730 Volume 2
    APPROACHES TO ACCOMPANIMENT ON THE BAROQUE GUITAR c.1590-c.1730 Volume 2: Appendices by NATASHA FRANCES MILES A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Bimingham October 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. CONTENTS LIST OF FIGURES ...................................................................................................................... i INTRODUCTION ...................................................................................................................... 1 APPENDIX 1 ............................................................................................................................ 3 Alfabeto .............................................................................................................................. 3 Castilian Cifras .................................................................................................................
    [Show full text]