DOCSLIB.ORG

Subscription Order Form Enclosed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Subscription Order Form Enclosed Subscription Order SOUTH FLORIDA’S GRAMMY® NOMINATED VOCAL ENSEMBLE Form Enclosed “Wonderfully CRISP AND CELEBRATORY” WELCOME CONTENTS TO OUR 2020-2021 SEASON! Founder & Artistic Director 2020-2021 Programs . 5-11 Patrick Dupré Quigley Subscriptions . 12-13 The Seraphic Fire Experience: Venues . 14 Hear the finest vocal artists Seraphic Fire on Tour . 14 perform engaging and uplifting programming Support Seraphic Fire . 15 in South Florida’s reverberant and intimate spaces NOVEMBER 2020 The most CREATIVE, Featuring: SMARTEST, Plainchant (Anonymous) consistently classical Requiem a 6 (Tomás Luis de Victoria) excellent Motets (Thomas Crequillon, MARIA OF SPAIN & Nicolas Gombert, Pierre Manchicourt, music ticket in South Florida . Philippe Rogier) Tomás Luis de Victoria Patrick Dupré Quigley, conductor Sometimes an especially intriguing person – in this case Maria of Spain, a future Holy Roman Empress – inspires a composer – Victoria – to produce a commensurately intriguing work . Born in 1528 to Holy Roman Emperor Charles V and Isabella of Portugal, Maria was part of the most elite royal family in Europe and was a patron of the greatest musical artists of her time . After the death of her husband, Maxmillian II, Maria retired to the Monasterio de las Descalzas Reales in Madrid and had as her personal chapelmaster the inimitable Tomás Luis de Victoria . Upon her death, Victoria composed his six-voice Requiem, arguably the composer’s greatest work and a testament to Maria’s legacy . Join us for a Pre-Concert Conversation one hour before each concert Fri, Nov 6 7:30pm Coral Gables Sat, Nov 7 7:30pm Ft. Lauderdale Sun, Nov 8 4:00pm Boca Raton Tue, Nov 10 7:30pm Miami Learn more: SeraphicFire.org/Spain • 305.285.9060 SeraphicFire.org/Experience 5 DECEMBER 2020 Featuring: Featuring: JANUARY 2021 O Come, All Ye Faithful (John Francis Wade) Old American Songs (Aaron Copland) Jesus Christ, the Apple Tree (Elizabeth Poston) In the Beginning (Aaron Copland) A Seraphic Fire CHRISTMAS Silent Night (Franz Xavier Gruber) Danzas del Silencio* (Alvaro Bermudez) COPLAND: SIMPLE GIFTS *Commissioned by the Knight Foundation James K. Bass, conductor Beloved of the Sky* (Tawnie Olson) Patrick Dupré Quigley, conductor *Commissioned by the Barlow Endowment From the traditional opening strains of Adeste Fideles (O Come, All Ye Faithful), for Music Composition at Brigham Young University Aaron Copland wrote his two sets of Old American Songs for the great tenor Peter Seraphic Fire’s annual a cappella candlelight Christmas concerts are a highlight Pears and singular baritone William Warfield . From publication forward they were of the cultural season . The world’s most recognizable yuletide hymn, Silent a national treasure, presenting American song tunes in the formal concert hall, Night, serves as the centerpiece for this year’s Christmas musical celebration . on the same stage as Mozart and Beethoven . Containing Simple Gifts, At the Beautiful Gregorian chant, timeless carols, and glorious motets create River, The Little Horses, Zion’s Walls, and many more, the Old American Songs a holiday soundscape that transports the listener across time and space . stand as one of the great testaments of American musical life . Clara Osowski is mezzo-soprano soloist in Copland’s remarkable In the Beginning . Also on Tue, Dec 8 7:00pm Naples this program is the premiere of Beloved of the Sky by Canadian composer Thu, Dec 10 7:00pm Boca Raton Tawnie Olson, winner of the 2018 Barlow Prize . Olson, whose music is described as glorious, ethereal, and mesmerizing, draws inspiration from Fri, Dec 11 7:30pm Coral Gables politics, spirituality, and the natural world . Sat, Dec 12 7:30pm Miami Beach Join us for a Pre-Concert Conversation one hour before each concert Sun, Dec 13 7:00pm Ft. Lauderdale Thu, Jan 21 7:00pm Naples Wed, Dec 16 7:30pm Miami Fri, Jan 22 7:30pm Coral Gables Fri, Dec 18 7:30pm Coral Gables Sat, Jan 23 7:30pm Ft. Lauderdale Sun, Jan 24 4:00pm Miami Beach Learn more: SeraphicFire.org/Christmas • 305.285.9060 Learn more: SeraphicFire.org/Copland • 305.285.9060 Made possible by the Meredyth Anne Made possible by: Dasburg Foundation BARLOW ENDOWMENT FOR MUSIC COMPOSITION 6 7 FEBRUARY 2021 WEEK I: MONTEVERDI & THE MADRIGAL WEEK II: BACH & THE CANTATA THE Patrick Dupré Quigley, conductor Patrick Dupré Quigley, conductor Claudio Monteverdi is represented by an evening dedicated to his The festival concludes with two of Bach’s cantatas (BWV 62 & BWV 180) ENLIGHTENMENT madrigals, including the Combattimento di Tancredi e Clorinda from and his triumphant Ascension Oratorio, with soloists Margot Rood and the Madrigals of Love and War. Heinrich Schutz’s thrilling and Nola Richardson, soprani, John Buffett, baritone, and others . Rich, virtuosic motets and his masterpiece, the Musikalische Exequien, concise, and surprisingly melodic, the Ascension Oratorio has it FESTIVAL II introduce us to the heights of German composition before Bach . all – joyful trumpet writing, a stunning aria so poignant that Bach went on to use it in the B Minor Mass, and profound choral music Join us for a Pre-Concert Conversation one hour before each concert illustrating the vastness of the heavens . Thu, Feb 18 7:30pm Miami Join us for a Pre-Concert Conversation one hour before each concert Fri, Feb 19 7:30pm Coral Gables Seraphic Fire’s Enlightenment Festival returns by popular demand in 2021 with engaging programs of 18th Century music, and its origins . Sat, Feb 20 7:30pm Ft. Lauderdale Thu, Feb 25 7:00pm Naples The musicians of Seraphic Fire will explore the relationship between Sun, Feb 21 4:00pm Boca Raton Fri, Feb 26 7:30pm Coral Gables George Frideric Handel and Johann Sebastian Bach – and their musical predecessors Henry Purcell and Claudio Monteverdi . Chamber Sat, Feb 27 7:30pm Ft. Lauderdale music concerts and larger festival concerts will paint a vivid portrait Sun, Feb 28 4:00pm Miami Beach of some of history’s most remarkable music innovators . Chamber Concerts to be announced in June Learn more: SeraphicFire.org/Enlightenment • 305.285.9060 8 9 MARCH 2021 Featuring: Featuring: APRIL 2021 Chansons, piano works, and music for New Work (Garth Neustadter) The Impressionists: harp by Debussy, Ravel, and others. Carmina Burana (Carl Orff) CARMINA BURANA MUSIC OF DEBUSSY RAVEL & Patrick Dupré Quigley, conductor James K. Bass, conductor O Fortuna! Carl Orff’s exuberant celebration of music, magic, and mysticism is the predecessor to the modern-day movie score . With all the edge-of-your-seat vocal Seraphic Fire and conductor/curator Dr . James K . Bass take the audience pyrotechnics of a choral action/adventure film,Carmina Burana remains one of on an aural journey to a late 19th century Parisian salon . Close your eyes the most recognizable musical pieces of all time . Seraphic Fire is joined by The and let this immersive music wash over you . Solo chanson, choral gems, Percussion Collective, an extraordinary new group that “brings the audience piano miniatures, and harp soundscapes will surround the listener in a level of artistry, beauty, and insight more commonly found in great string this experiential concert . quartets .” (Beijing Morning Post) This blockbuster of a concert will keep you humming for hours after the curtain comes down . Join us for a Pre-Concert Conversation one hour before each concert Join us for a Pre-Concert Conversation one hour before each concert Wed, Mar 17 7:30pm Miami Thu, Apr 22 7:00pm Naples Thu, Mar 18 7:00pm Naples Fri, Apr 23 7:30pm Coral Gables Fri, Mar 19 7:30pm Coral Gables Sat, Apr 24 7:30pm Ft. Lauderdale Sat, Mar 20 7:30pm Ft. Lauderdale Sun, Apr 25 3:00pm Boca Raton Sun, Mar 21 4:00pm Miami Beach Learn more: Learn more: SeraphicFire.org/Carmina • 305.285.9060 SeraphicFire.org/French • 305.285.9060 Made possible by William Jaume Made possible by: Marty Davis & Alix Ritchie 10 11 SUBSCRIPTION OPTIONS SUBSCRIBER BENEFITS SUBSCRIBE TO PREMIER SUBSCRIBERS will receive FREE PREMIER SUBSCRIBERS have the best opportunity to get up close and personal with Seraphic Fire SERAPHIC FIRE admission to our Chamber Concerts with the best seats and opportunities to engage with our artists throughout the year. PREMIER BENEFITS STANDARD BENEFITS Full Season Subscribers FULL SEASON FIREPASS Get the Best Value! • Reserved open seating • Invitation to a post-concert reception to meet the artists of Seraphic Fire PREMIER STANDARD PREMIER STANDARD • Invitation to a post-concert talk-back with Artistic Director Patrick Dupré Quigley $371 $245 6 Concerts $330 $222 Enjoy Subscriber-Only • Invitation to a “town hall” conference call with Artistic Director Patrick Dupré Benefits: SAVE UP TO $105 5 Concerts $275 $185 Quigley and the artists of Seraphic Fire NOT OFFERED 4 Concerts $220 $148 • Access to Seraphic Fire Youth Initiative education concerts • Lowest Price Guarantee • UPGRADE CERTIFICATE to Reserved-by-Name Seating for one 3 Concerts N/A $120 • No Ticketing Fees subscription concert • Sell-Out Protection • Autographed Seraphic Fire CD signed by Artistic Director Patrick Dupré Quigley • Flexible Exchanges *3-concert Standard FirePass • Additional Christmas tickets for just $55 (save up to $10 per ticket) • Additional Christmas tickets for just $55 (save up to $10 per ticket) • Save $10 on A Seraphic Fire will be available in September • Special live recording CD of a select 2020-2021 Season performance • Special live recording CD of a select 2020-2021 Season performance Christmas when including (does not include Christmas) • FLEXIBLE TICKET EXCHANGES for Seraphic Fire performances throughout it in your package • FLEXIBLE TICKET EXCHANGES for Seraphic Fire performances throughout South Florida South Florida • NO PROCESSING FEES on subscription packages or additional tickets purchased • NO PROCESSING FEES on subscription packages or additional tickets purchased 12 13 OUR VENUES Seraphic Fire on Tour SUPPORT SERAPHIC FIRE BOCA RATON MIAMI JOIN US OUTSIDE FLORIDA Seraphic Fire’s supporters are integral to our music-making and transformative St.
Load more

Recommended publications
  • The Tallis Scholars I
    The Tallis Scholars I A Secrest Artists Series Event 7:30 pm, Thursday , March 29, 2007 Wait Chapel, Wake Forest University secrest artists series Winston-Salem, North Carolina ••• The Tallis Scholars Peter Phillips, director Soprano Tenor Tessa Bonner Andrew Carwood Janet Coxwell Nicholas Todd Chris Watson George Poo ley Alto Bass Patrick Craig Dona ld Greig Caro line Trevor Robert Macdonald Messa a quattro voci da capella ................. Claudio Monteverdi ( 1567-1643) Peccantem me quotidie ........ ,.... ,..... Giovanni Pierlu.igi Palestrina {1525-1594) Oum complerentur .............. , ............ G iovanni Pi erluigi Palestrin a INTERMISSION Media vit a ............................ N icolas Gombert ( 1495-1560) Media vita .......................... Orlande de Lassus (1532-1594) Stabat juxt a ....... , ...................... John Browne Magnifi cat IV ................... ... Nicolas Gombert In North America, The Tallis Scholars are managed by: International Arts Foundation, Inc. 201 West 54th Street, Suite lC New York, NY 10019 www.internationalartsfoimdation.com The Tallis Scholars record for Gimme ll Records www.gimmell.comwww.thetallisscholars.co.t,k The Tallis Scholars American Tour - 24th March to 1st April GregSkidmore One of the unique features of the history of Renaissance music was the variety with which the basic compositiona l idea of vocal polyphony was mterpreted in different countries and at different times. Tonight, the Tallis Scholars present music written over a span of over 140 years by compos- ers from varymg national backgrounds, and it will be possible to see both contrasts and similarities m their music. Most consider Claudio Monteverdi to be a Baroque composer. Even though his introduction of the seconda prattica has long been considered a watershed moment in the history of music, Monteverdi wrote in an older style, called prima prattica, throughout his life.
    [Show full text]
  • The Companion to the Edington Music Festival
    The Priory Church of Saint Mary, Saint Katharine and All Saints, Edington, near Westbury, Wiltshire THE COMPANION TO THE EDINGTON MUSIC FESTIVAL Sunday, 20 August to Sunday, 27 August 2000 1 Contents Introduction Peter Barley Welcome to the Edington Festival of Music within the Liturgy for the year 2000. Whatever one's views on where the millennium really comes, and whether this is really a great birthday for the Church, it is clearly a momentous milestone, and not least for Edington — the forty-fifth festival and the year that sees the launch of the Festival Association. O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim. I find these words from the well-known 19th century Epiphany hymn by J.S.B. Monsell (and also familiar from Psalm 96 and settings by Elgar and Wesley) particularly poetic and meaningful when it comes to considering worship at Edington. The beauty of holiness has a special resonance for all those of us lucky enough to be worshippers at this unique Introduction 3 Festival, where we are able to rejoice in, celebrate and relish the quality of our liturgy and worship — its beauty and holiness. Festival & General Information 6 The word 'liturgy' is derived from two Greek words (leitos and ergos) which translate as 'public action'. Thus we have acts of public worship, made up of praise, penitence, prayer Acknowledgements 6 and thanksgiving. Canon Neil Heavisides spoke eloquently and movingly about the life and work of Ralph Dudley on Friends' Day at last year's Festival, and alluded to Dudley's clear vision of liturgy as 'the people's work', where not just music and the spoken word Edington Festival 2001 7 but also deportment was an art.
    [Show full text]
  • Direction 2. Ile Fantaisies
    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)
    Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 136-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part: 13 canciones and 1 Fuga (or Tiento) in 5 voices transcribed for keyboard instrument or harp and arranged for recorders or other instruments with introduction and critical notes by Arnold den Teuling Keyboard instrument or harp 2017 1 2 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He omitted the intabulations, “glosas”, of other composers, apparently objecting a lack of originality to them. He also gave an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works.
    [Show full text]
  • A Conductor's Analysis of Selected Motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra Kevin Doyle Smith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Smith, Kevin Doyle, "The ts yle of meditation: a conductor's analysis of selected motets by Rihards Dubra" (2004). LSU Doctoral Dissertations. 1235. https://digitalcommons.lsu.edu/gradschool_dissertations/1235 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE STYLE OF MEDITATION: A CONDUCTOR’S ANALYSIS OF SELECTED LATIN MOTETS BY RIHARDS DUBRA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fullfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Kevin Doyle Smith B. S., Eastern Nazarene College, 1994 M. S. M., Emory University, 1999 August 2004 Acknowledgements Thank you to my family, Mendy and Brendan, for all of the sacrifices that you both have made to help me achieve my goals and live my dreams. Without your love, support, and understanding none of this would have been possible. Thank you to Ken Fulton, Sara Lynn Baird, Allison McFarland, Bill Grimes, and Jindong Cai for their dedication to this research and to me.
    [Show full text]
  • Caecilia V91n03 1964
    caeci la Verdict on Victoria VOL. 91, NO. 3 FALL, 1964 5 CAECILIA Puhlished four times a year, Spring, Summer, Autumn and Wintel'. Second-Class Postage Paid at Omaha, Nebraska Subscription Price-43.00 per year AU articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norhert Letter Change of, address should he sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. caeci la TABLE OF CONTENTS Editorials - --_------_-_ ---- __ -- ----- ---- -- -- --__ --- -- -- -- --- -- -- -__ ----- __ 87 Verdict on Victoria --- . -_ ---_ -- __ --_ ---- -__ ------- -- -- -_ _ 91 Reflections on the Use of Sacred Chant 118 N ewslitter - __ 121 Pictures Peloquin Receives Medal 126 Church Musicians Meet -- -__ 127 Review-Recitals and Mass ----________________ 128 British Texts for Gloria and Creed 132 VOL. 91, NO.3, FALL, 1964 RONCKA BROS.~OMAHA. NEBR. CAECILIA A Quarterly Review devoted to the liturgical music apostolate. Published with ecclesiastical approval by the Society of Saint Caecilia in Spring, Summer, Autumn and Winter. Established in 1874 by John B. Singenberger, K.C.S.G., K.C.S.S. (1849-1924). Editor Very Rev. Msgr. Francis P. Schmitt CONTRIBUTING EDITORS Francis A. Brunner, C.Ss.R. Elmer Pfeil Louise Cuyler Richard Schuler David Greenwood Lavern Wagner Paul Koch Roger Wagner Paul Manz Abbot Rembert Weakland, O.S.B. C. Alexander Peloquin James Welch CAECILIA ASSOCIATES Dr. Caspar Koch, Pittsburgh, Pa. The Hon.Arthur Reilly, Boston, Mass.
    [Show full text]
  • I Al the MULTIVOICE SACRED MUSIC of NICOLAS GOMBERT: A
    THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION by Brandi Amanda Neal Bachelor of Arts in Music, University of South Carolina, 2003 Master of Arts in Music, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 al i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Brandi A. Neal It was defended on April 1, 2011 and approved by James P. Cassaro, Adjunct Assitant Professor, Department of Music, Head, Theodore M. Finney Music Library Alan Lewis, Director of Music, Calvary Episcopal Church, Pittsburgh, Pennsylvania Don O. Franklin, Professor Emeritus, Department of Music Francesca L. Savoia, Associate Professor of Italian, French and Italian Languages and Literature Dissertation Advisor: Mary S. Lewis, Professor Emerita, Department of Music ii Copyright © by Brandi A. Neal 2011 iii THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION OF STYLE AND CONTEXT Brandi A. Neal, PhD University of Pittsburgh, 2011 This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495-1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed.
    [Show full text]
  • RSLI Newsletter May 2017 Page 2
    Newsletter May 2017 Vol. 41 No. 3 Message From Our President Dear RSLI Members and Friends, Yet another wonderful RSLI year --- Our workshops have been very successful, our membership has grown, the Meeting Dates for 2017 guest conductors at our playing meeCngs have been stellar, and we January 14 conCnue to benefit from the talents and leadership of our music director, February 11 Rachel Begley. March 11 Our May 13th meeCng is the last regular meeCng unCl September, and the April 8 Cme for us to hold our Annual MeeCng and ElecCon of Officers. You will May 13 find the Slate of Officers elsewhere in this newsleLer. Should you wish to be a candidate or to nominate a member to serve on the RSLI Board of Directors (with their prior permission only), you must contact Donna Basile Meetings: ([email protected]) in advance of the meeCng. This board is the The Recorder Society of Long Island, Inc. backbone of our Society and its members are dedicated to its well-being. regularly meets on the 2nd Saturday Your vote is important and a show of support and thanks to our “Crew”. of each month (September through May) from 9:30 a.m. to 12:30 p.m. We conCnue to solicit much-needed funds for Nina Stern’s ongoing project at St. Luke Lutheran Church “S’Cool Sounds”. Nina has been bringing music educaCon (and recorders!) 20 Candlewood Path, Dix Hills, NY 11746 to underprivileged youth around the world for some Cme, with great Playing begins at 10 a.m. with a break at results.
    [Show full text]
  • The Sixty-Fifth Season of the William Nelso Cromwell and F
    The Sixty-fifth Season of The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art 2,592nd Concert Suspicious Cheese Lords Presented in honor of Prayers and Portraits: Unfolding the Netherlandish Diptych November 12, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Guillaume Dufay (c. 1397 – 1474) Ave Regina caelorum Gilles Binchois (c. 1400 – 1460) Dixit sanctus Philippus Jean de Ockeghem (c. 1410 – 1497) Mort tu as navré Josquin des Pres (c. 1450 – 1521) Ave Maria . virgo serena Pierre de La Rue (c. 1452 – 1518) Laudate Dominum omnes gentes Thomas Crecquillon (c. 1505 – 1557) Vidit Jacob scalam Antoine Brumel (c. 1460 – c. 1513) Benedictus Josquin La déploration de la mort de Johannes Ockeghem ______________ 3 intermission Brumel Mater patris et filia Josquin Gloria from Missa mater patris Jheronimus Vinders (fl. 1525 – 1526) O mors inevitabilis Jean Mouton (c. 1459 – 1522) Gloriosa virgo Margareta Adrian Willaert (c. 1490 – 1562) O magnum mysterium/Ave Maria Nicolas Gombert (c. 1495 – c. 1560) Lugebat David Absalon Elzéar Genet (c. 1470 – 1548) Tibi Christe ______________ 4 The Musicians The Suspicious Cheese Lords, a male a cappella ensemble, sings a reper- toire that ranges from Gregorian chant to contemporary composition. In addition to its National Gallery debut on December 18, 2005, the group has performed at the Smithsonian Institution, the xm Satellite Radio live perfor- mance studio, and a number of Washington area churches. The Washing- ton Post described a recent performance as “genuinely beautiful . rapturous music-making.” The ensemble has been profiled in publications as diverse as the Washington City Paper and Early Music America magazine.
    [Show full text]
  • Alonso Lobo Sacred Vocal Music
    95789 ALONSO LOBO SACRED VOCAL MUSIC Coro Victoria Ana Fernández-Vega Alonso Lobo (1555-1617) Sacred Vocal Music 1. Ave Regina Caelorum a 5 3’00 7. Regina Caeli Laetare 2’30 From Missa Simile est regnum caelorum 14. Ego Flos Campi 2’07 13. Agnus Dei 4’10 From Missa O Rex Gloriae 8. Credo Romano 6’45 Agnus Dei II a 6: Élia Casanova · Manon 15. O quam suavis est Domine 2. Kyrie 2’40 Incipit: Jagoba Fadrique baritone Chauvin sopranos Bonus Track 3’53 Christe: Èlia Casanova soprano Hugo Bolívar countertenor Élia Casanova soprano Julieta Viñas mezzo soprano 9. Cum audisset Ioannes Francisco Braojos tenor Manuel Minguillón vihuela Francisco Braojos tenor in vinculis 2’31 Jagoba Fadrique · Oriol Mallart baritones Jagoba Fadrique baritone 3. Gloria 3’51 From Missa Petre ego pro te rogavi Incipit: Jagoba Fadrique baritone 10. Sanctus-Benedictus 4’24 Benedictus: Élia Casanova · Manon 4. Ave Maria a 8 4’01 Chauvin sopranos Élia Casanova · Manon Chauvin Julieta Viñas mezzo soprano sopranos Francisco Braojos tenor Julieta Viñas · Beverley Green mezzo Élia Casanova · Manon Chauvin & Cristina Teijeiro sopranos Julieta Viñas · Beverley Green mezzo sopranos sopranos 11. Versa est in luctum a 6 4’25 Hugo Bolívar countertenor Hugo Bolívar countertenor Élia Casanova · Manon Chauvin Francisco Braojos · Emiliano Cano tenors sopranos Francisco Braojos · Emiliano Cano & Jesús Navarro tenors Pablo Acosta bass Hugo Bolívar countertenor Jagoba Fadrique · Oriol Mallart baritones Francisco Braojos · Emiliano Cano tenors Pablo Acosta bass 5. Vivo Ego, dicit Dominus 2’32 Jagoba Fadrique baritone Ana Fernández-Vega conductor 6. Erunt signa in sole 3’13 12.
    [Show full text]
  • The Choir of King's College London
    The Choir of King’s College London Gareth Wilson The Choir of King’s College London Gareth Wilson IN MEMORIAM Alexander May, Graham Thorpe organ 1 William Byrd (1539/40–1623) Laudibus in sanctis [5:18] 9 Robert Busiakiewicz (b. 1990) Ego sum resurrectio et vita [2:27] 2 Matthew Kaner (b. 1986) Duo seraphim [5:09] Rob Keeley (b. 1960) Magnificat & Nunc dimittis Eleanor Williams, Mimi Doulton, Elizabeth Gornall, Eleanor Wood sopranos 10 Magnificat [4:15] Ben Taylor-Davies, Billie Hylton, Caitlin Goreing, Jacob Werrin, Rosanna Goodall altos 11 Nunc dimittis [2:52] James Rhoads, Miles Ashdown tenors Alexander May organ Freddie Benedict, Alex Pratley basses Antony Pitts (b. 1969) Pie Jesu (Prayer of the Heart) Gareth Wilson (b. 1976) Magnificat & Nunc dimittis (Collegium Regale) 12 I [6:55] 3 Magnificat [5:33] 13 II [5:38] 4 Nunc dimittis [5:27] Ciara Power, Lindsey James sopranos Graham Thorpe organ Caitlin Goreing, David Lee altos Silvina Milstein (b. 1956) ushnarasmou – untimely spring James Rhoads tenor Scott Richardson, Joey Edwards basses 5 ushnarasmou [4:01] 6 kusumaani [4:41] 14 Matthew Martin (b. 1976) An Invocation to the Holy Spirit [2:43] Eleanor Williams, Mimi Doulton solo sopranos Lindsey James, Charlotte Nohavicka ripieno sopranos 15 Giovanni Pierluigi Quam pulchri sunt gressus tui [4:38] Matthew O’Keeffe, Rosanna Goodall solo altos da Palestrina (1525–1594) Billie Hylton, Jacob Werrin ripieno altos Robyn Donnelly soprano Miles Ashdown, James Green solo tenors Jaivin Raj ripieno tenor 16 Jacob Clemens non Papa (c.1510–1555/6) Ego flos campi [5:27] Joey Edwards, Alex Pratley, Dominic Veall ripieno basses 17 Francis Grier (b.
    [Show full text]