DOCSLIB.ORG

The Collegium Musicum the Madrigal Singers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Collegium Musicum the Madrigal Singers The School ofMusic , presents the 57th program ofthe 1989-90 season c,'19qO 2. -2-7 The Collegium Musicum Margriet Tmdemans, Director The Madrigal Singers Joan Catoni Conlon. Director .. '..,-' ' "LaBella Venezia" Diversity of styles from La Serenissima February 27, 1990, 8:00 PM Meany 1beater " I -- --......~. r' I D~lI,(001 c fk.s 'fF Ir t9 0 2­ 11.(,,;03 Thus. amidst her angry tears, she lifted her voice to heaven. In this way in the hearts oflovers does Love Program mixflames and ice. Ca.~"'7*1lr(&02A Cynthia Beiunen. mezzo-soprano Dessus Ie marebe d'Arras (1528) .......... ADRIAN WIU.AERT (C.1490-1562) At the market (me"ily. merrily we play). I encountered a Spaniard (merrily ...). He said, 'Usten. maid,' Hor care canzonette (1584) ......................•CI..AUDIO MONTEVERDI (merrily...) 'I will give you silver' (merrily...). Dear camonets. go swiftly and surely. Ricercar declmo (Venice. 1559) ................................WILLAERT without saying a word. to Idss her hand... r Sweet camonets. go only to one...begging her pardon... Maledetto (1632) .................................CI..AUDIO MONTEVERDI Adoramus te (1620) ....................CI..AUDIO MONTEVERDI (1567-1643) (Lament ofOlympia. abandoned by her lover on a We adore you. 0 Christ. and we bless'JOu./Or by your desert island}Cursed one! I love with afaitlt/ul. burn.ing passion. priceless blood, you have redeemed us. Have mercy upon yet I am a river oftorment. Love's ~ows pierce us. me. yet I am disarmed. You dismiss the fire ofmy love! Laurie Hungerford Flint, soprano Cantate Domino (1620) ........................... CI..AUDIO MONTEVERDI Sing to the Lord a new song. a bless G04 s name, who has made miracles to happen. Sing and rejoice, sing psalms with harp and voice. ~ Bicinium qlJ8rto modo (Venice. 1558) ....... GIOSEFFEZARLINO (1517-1590) '. ~ .... ~ ...... ;' 1 ....!3 Bicinium primo modo ................................GIOSEFFE ZARLINO ~ Nigra sum ...........................................GIOSEFFE ZARLINO I am black. but comely, 0 ye daughters ofJerusalem, Toccata 9/2 .........................GIROI..AMO FRESCOBALDI (1583-1643) as the tents ofKedar. as the cJU1Qins ofSolomon••.. lec.,,-r,Te. variQT~ '5c¥'Y'o... {o .{;Aio. - Hc.CII1IVl·, Cynthia Beitmen' Brian Fairbanks Man: Cassone Robert Tangney Non havea Febo aneora (1638) .................... CI..AUDIO MONTEVERDI Gabriel Dwnitrescu Phoebus had not yet brought light to the day when a YOlUlg woman left her dwelling; her pale face carried great grief; she sighed heavily, wandering Ecco mormorar l'onde ...........................CI..AUDIO MONTEVERDI aimlessly, treading on theflowers.lamenting her lost love thus: Behold the 1I1IU1nU1'ing waters. the rustling leaves. the morning air stirring amongst the branches. Lamento della Ninfa Above the verdant boughs, the birds sing sweetly. sky Love (she said, stopping and gazing at the skies) The eastern is beaming. See. the dawn begins to Love. where is thefaith the traitor swore? appear. and is mi"ored in the sea. She begins to (Unhappy one!) Let my love return to me. or kill me brighten the heavens, turning dewdrops into pearls to end my torment....(Unhappy one! She cannot bear such and the high molUltains into gold. Oh. loveliest Aurora! Breezes are thy herald. and thou their envoy. coldness any longer.) (text by Tasso) Si tra sdegnosi pianti Sonata a 6 (Venice, 16(8) ................CESARIO OUSSAGO (FL.1599-1612) Thus. in me, ambitious. vain desires have had more power than my love. Ah,foolish. blind world. ah cruelfate, Intermission that should make me the minister ofmy own death! Julia Vogel, Lauria Hungerford Flint, sopranos C<il..... ~:fP 1/,& 03 A 1 Qual sara mai si miserabil canto (Venice, 1543) ......... COSTANZO FESTA (c.1490-1545) J DamigeUa, tutta bella (1607) ......................CLAUDIOMONrEVERDI What song shall ever be doleful enough to suit the grief Fair damsel! Pour, pour some wine, the pure dewdrops ofmy great loss? How can I weep enough to lament eternally distilled into thefinest ruby wine! my mortal distress? I will stay grieving as long as heaven keeps me alive. My heart, a deep river ofpassion, sends out to you its profound love. But ifyou should throw me over and leave me. Ogni Iocom'atr~ta (1543) .......... .'.................. COSTANZO FESTA I would drown in its depths! Every place saddens me where I see not those gentle fair eyes which bore the keys ofmy sweet thought during Ah.1 am spent! I have not known suchfurious passion. God's pleasure. Whether I sleep or walk or sit. I seek The fires ofMt. Etna are less burning, less ardent nothing else. I am reminded how joyfid my life was then than my passions! by my present bitter unhappy state. New loves inflame me even more. Ifl don't get some help, (text by Petrarch) I shall become an exploding volcano. Partite variate sopra Ia folia. ....... ALESSANDRO PICCININI (1566-C.1638-;l Yet anew, within me, every hour. grows such a high aria Romanesca (Bologna, 1623) ~ temperature. consuming me, disarming me. How can I continue to live this way? e~__~_TM __________________ __ Quand'io pens' al martire ................ JACQUES ARCADELT (1505-1568) Quand'io ero giovinetto (1575) ............ OIOVANNI OABRIEU (1553-1612) Quand'io pens' aI martire .................. CLAUDIO MERULO (1533-1604) When I was a youth. I was always loving someone, with great pleasure. day and night; I lived beyond When I think on the cruel martyrdom you have given me. pain, and beyond traps to chain me down. I wish to rush to my death, to the[mal pain. Now that I am old. everyone pushes me away, saying: But when I think ofwhat has carried me. to this , Get out ofhere. Go to the market, and come back in martyrdom full oftorment, I feel great pleasure an hour or so.' Now. I know great So"ow,for nobody restoring my soul. Thus death returns me to life. wants me! Oh, infinite misery. I am at once encouraged and discouraged. Deb! Dimmi amor (1539) ................. JACQUES ARCADELT (1505-1568) Ah. tell me, ifa loving soul can be both pitying I and beautiful. ifit is not foolish to take a touching Obime, dov'e it mio ben .................... .... CLAUDIO MONrEVERDI , love. and give it away, ifI so able to give Romanesca a 2 did not give, out ofbitterness .... Alas, where is my beloved, where is my heart? Who hides herfrom me. who takes her from me? So alone my desire for honor gives me cruel cause Diminutions on "Un gay Bergbier" ...................GIOVANNIBASSANO for such sufferings. (Venice, 1585) -.J ~ ........................GIPRfANS 98 RQR£ (1516-i5~ (omame&ts by Gholamo dallA Casa (1584]­ The Madrigal Singers .Clmtllia Beim.len mei5i!9 96Bf8ftO Joan Catoni Conlon, Director Laura Ash Ellen Kaisse Passamezzo ......................'.. : ......................ANONYMOUS Bob Bavis (variations by Trevor Tunnacliffe) Brian Koreski Cynthia Beibnen Brent Kroon Trevor Tunnacliffe, viola da gamba Marc Cassone Pat Patterson Gabriel Dwnitrescu Tara 0' Brien Pride Brian Fairbanks Phil Raether ''LaSoIFaReMi'' (Venice, 1549) ........GIUUANO TIBURTINO (C. 1510-1569) Laurie Hungerford Flint Ted Rosenberger AdinoHo Douglas Fullington Robert Holcomb Robert Tangney Gretchen Hubbert Dianne Vars Julia Vogel Dokissimo uscignolo (1638) ....................... CLAUDIO MONfEVERDI Dianne Vars, Assistant Director Sweetest nighJingale, you call to your companion, saying, ,Come, my love.' For me, a song is ofno value, and, unlilce you, I have no wings to flyaway. ohappy, sweet bird, nature does reward you. Although sM denied you knowledge, she gave you goodfortune. The Collegium Musicum Margriet Tindemans, Director 4­ Cynthia Beitmen, voice Kristine Rinn, recorder & Joseph Bichsel, viola da gamba Margriet Tindemans, viola da gamba Girometta, a 8 ............................. COSTANZO PORTA (1528-1601) Chris Corfman, recorder Leslie Totusek, recorder George Forman, recorder Trevor Tunnacliffe Deirdre Jasper, recorder Jon Walkwick, theorbo, lute Vicki Melin, flute, recorder Sarah Weiner, recorder Vincent Ranger, harpsichord AItri canti di Marte (1638) ........................ CLAUDIO MONfEVERDI Laurel Uhlig, recorder Let others sing ofMars and his infantrymen, oftheir boldness and brave deeds, ofbloody victories, ofthe triumphs ofcruel, bitter death. Friends of Music (l/l/89 - 2/14/9IJ) I sing, Love, ofhow my spirit was wounded by you, how a glance conquered me, a hair enchained me; UFETIME FRIENDS FOlUulation Milton and Virginia Katims a sad story, but true. PONCHO Kathleen O. Long The Boeing Company Mo. V.R. Scheumann Theodore L. Muts Two beautiful eyes were the weapons that pierced Brechemin Family Foundation Seattle Foundation McCaw Foundation William and Ruth Gerberding SUPPORTERS ($25&.$999) Otarles and Alice McGregor my afflicted soul, and, instead ofblood, Hans and Thelma Lehmann Daniel and Arundhati Neuman bitter tears poured out. Edmund and Carolyn Littlefield Anonymous Maynard and Ellen Pennell Aura Bonell Mom son James and Jane Beale Andrew and Marianna Price PATRONS ($I.,toe-$24,999) Kenneth Benshoof Melville and Mary Price You, tlvough whose might my unvanquished enemy seized CCNAAO in Seattle Alan T. Robertson victory andfamefrom me, since you gave death to my heart, Meade and Deborah Emory James and Mary Carlsen Gilbert 1. Roth Luther and Carol Jones Digital Equipment COIporation Tom and Lorraine Sakata give life to my song. Donald and Linda Miller Richard and Judith Evans CONfRIBUTORS ($5&.$149) SPONSORS ($11)00.$9,999) Ferdinand Ebeotadt Foundation Robert Tangney, bass Ramesh and ShanlA Gangolli George and Lorna Aagaard Jennifer Hillaker,
Load more

Recommended publications
  • APPENDIX 1 Inventories of Sources of English Solo Lute Music
    408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385
    [Show full text]
  • Amherst Early Music Festival Directed by Frances Blaker
    Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away.
    [Show full text]
  • Some Historical Perspectives on the Monteverdi Vespers
    CHAPTER V SOME HISTORICAL PERSPECTIVES ON THE MONTEVERDI VESPERS It is one of the paradoxes of musicological research that we generally be- come acquainted with a period, a repertoire, or a style through recognized masterworks that are tacitly or expressly assumed to be representative, Yet a masterpiece, by definition, is unrepresentative, unusual, and beyond the scope of ordinary musical activity. A more thorough and realistic knowledge of music history must come from a broader and deeper ac- quaintance with its constituent elements than is provided by a limited quan- tity of exceptional composers and works. Such an expansion of the range of our historical research has the advan- tage not only of enhancing our understanding of a given topic, but also of supplying the basis for comparison among those works and artists who have faded into obscurity and the few composers and masterpieces that have sur- vived to become the primary focus of our attention today. Only in relation to lesser efforts can we fully comprehend the qualities that raise the master- piece above the common level. Only by comparison can we learn to what degree the master composer has rooted his creation in contemporary cur- rents, or conversely, to what extent original ideas and techniques are re- sponsible for its special features. Similarly, it is only by means of broader investigations that we can detect what specific historical influence the mas- terwork has had upon contemporaries and younger colleagues, and thereby arrive at judgments about the historical significance of the master com- poser. Despite the obvious importance of systematic comparative studies, our comprehension of many a masterpiece stiIl derives mostly from the artifact itself, resulting inevitably in an incomplete and distorted perspective.
    [Show full text]
  • The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19
    The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19 ROBERT NOSOW It ha, now been mm·e than twenty yea" 'ince the publication of Edward E. Lowinsky's edition of the Medici Co­ dex.' The theses presented by Lowinsky concerning the Medici Co­ dex and concerning Bologna, Civico Museo Bibliografico Musicale, 92 MS Q 19, "the Rusconi Codex," have occasioned much comment and stimulated substantial new research. Most of the discussion concern­ ing Q 19 has been tied to the hypotheses set out by Lowinsky, and less has been said about the general problems presented by the manu­ script.2 In view of the recent publication of the manuscript in the Garland series of Renaissance Music in Facsimile, the time is ripe to synthesize some of the subsequent research findings-mostly pub­ lished as reviews of or responses to Lowinsky-and to add new evi­ dence that may present a solution to the problems of dating and provenance.'~ The question of the provenance of Q 19 has aroused a great deal of debate not only because of the importance of the collection, but because it offers so many different clues. I will deal briefly with the relevant aspects of physical structure and organization. The manu­ script comprises 211 paper folios, with 7 preliminary folios, 202 folios with original numeration in ink on the top right hand corner of each ' Edward E. Lowinsky, ed., The Medici Codex of 1518 (Chicago and London, 1968), published as vols. III-V of Monuments of Renaissance Music, 8 vols. to date, general editor Edward E.
    [Show full text]
  • Graduate-Dissertations-21
    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E.
    [Show full text]
  • The University of Oklahoma Graduate College A
    THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S RESOURCE GUIDE TO THE OFFICE OF COMPLINE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By D. JASON BISHOP Norman, Oklahoma 2006 UMI Number: 3239542 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3239542 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 A CONDUCTOR’S RESOURCE GUIDE TO THE OFFICE OF COMPLINE A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Dennis Shrock, Major Professor Dr. Irvin Wagner, Chair Dr. Sanna Pederson, Co-Chair Dr. Roland Barrett Dr. Steven Curtis Dr. Marilyn Ogilvie ' Copyright by D. JASON BISHOP 2006 All Rights Reserved. TABLE OF CONTENTS Chapter I: Introduction Purpose of the Study 1 Need for the Study 2 Survey of Related Literature 3 Scope & Limitations of the Study,
    [Show full text]
  • Class Choices Winter Weekend Workshop 2020
    CLASS CHOICES WINTER WEEKEND WORKSHOP 2020 Name: ____________________________________ First Period Classes 9:00-10:30 (Saturday, Sunday, and Monday) GIVE 1ST AND 2ND CHOICES! _____Master Class: □ Voice (Baird, Katz acc.) □ Recorder (Gilbert) □ Violin (Harris) □ Flute (Roberts) □ Oboe (Burgess) □ Viol (Cunningham) □ Harpsichord (Cok) □ Bassoon (Verschuren/Merriman) □ Cello/Bass (Terry) Public “private lessons” for advanced students who have prepared a piece. Indicate whether you wish to perform or audit. If performing, give name of piece and bring 8 copies of the score so all may look on. A=415. Vocal master class performers limited to auditioned students only; auditors welcome. Recorder master class limited to 9 players; give 2nd choice. Audit___ Perform___ Piece______________________________________________________________________ (recorders only) a=440?___ 415?___ Accompanist needed?______ _____ Elizabethan and Jacobean Delights (Beckmann, Haas, Horst) The polyphonic richness of music from the age of Shakespeare, Elizabeth I, and King James is a delight for recorder players: sacred music of Tallis and Byrd; Madrigals of Weelkes, Wilbye, and Ward; fantasias of Coperario and Gibbons; consorts of John Dowland, and more. Explore this music from a fascinating period in English history. Larger recorders welcome! Intermediate to advanced recorders. _____ Spain, Portugal, and the New World (Petersen) With our usual emphasis on the Big Four (England, France, Germany, Italy), we often overlook the rich troves of music from the Iberian peninsula. Less than 30 years after Columbus’ voyage, missionaries from Spain and Portugal, in their efforts to convert the natives, brought vast amounts of music to the New World. We’ll sing and play music by well- and lesser-known Iberian and other composers, then see how their well-traveled music influenced composers in the southern colonies.
    [Show full text]
  • LES SONADORI : Consort De Violons Renaissance Programme Détaillé ______
    LES SONADORI : Consort de Violons Renaissance Programme détaillé ______________________________________________________ I. Concert de musique Profane Pavane «Le bon vouloir» (danse*) «Je ne scay pas comment», Chanson de B. Appenzeller (Belgique 1480-1558) (1) Bruder Konrads Tanzmass + Nachtanz (danses*) Quando ritrova la mia pastorella (danse*) Tout jour leal à ma maistresse, de Jean Courtois (1ère moitié XVIe siècle) (2) Basela un trato - El fransosin (danses*) Vignon, vignette / Qui te planta, de Roland de Lassus (Mons-Belgique 1532 / Munich 1594) (3) Tant que vivrai + Nachtanz Pavane et gaillarde (danses*) Petite Camusette, de Josquin Desprez (Picardie 1450 / Condé sur l’Escault 1521) (4) Petite Camusette, d’Adrian Willaert (Brugge 1490 / Venezia 1562) (5) Ma bouche rit, de Josquin Desprez (6) Mon cueur, mon corps, d’Adrian Willaert (7) Pavane La Colognese, suivi de la galliarde El desperato (danses*) Pavane Sine tenez (Si me tenez tant de rigueur), de Thomas Crequillon (8) Pavane de Re, suivi de la galliarde Gamba (danses*) II. Procession Pavane d'Angleterre (danse* 1) Madre de’ paccatori , Laude de Fra Serafino Razzi (Libro 1° delle Laudi Spirituali, Venezia 1563) Passa mezzo et gamba (danses d’après Diego Ortiz, Tratado de Glosas, Roma 1553) Ce fut le jour, Chansonnier Chardavoine, polyphonie improvisée par « Les Sonadori » J’ai vu le loup, le renard et le lièvre, chanson populaire arrangée par « Les Sonadori» La scarpa (chaussure) my fait mal (danse*) Chi serve a Dio cum purità di core (Laude) Veni creator (Hymne), en entrant dans l’église pour le concert de musique sacrée III. Concert de musique Sacrée Quam pulchra es, et quam decora, de Roland de Lassus (Mons-Belgique 1532 Munich 1594) (9) Musae Iovis : déploration sur la mort de Josquin, de Nicolas Gombert (1495-1560) (10) O bone Jesu, de Pierluigi da Palestrina (1525 près de Rome / 1594 Rome) (11) Contrepoints sur le thème de La Spagna, n°1 et 12, de Costanzo Festa, (Piemont 1495 / Roma 1545), In te, Domine, speravi, de Roland de Lassus (Mons-Belgique 1532 / Munich 1594), (12) texte : psaume 30 v.
    [Show full text]
  • Slovenski in Tuji Zborovski Skladatelji Od 13. Do 21
    SLOVENSKI IN TUJI ZBOROVSKI SKLADATELJI OD 13. DO 21. STOLETJA ZAČETKI VEČGLASJA Jan Pieterszoon Sweelinck (1562 – 1621) Leonin (1150-1201) John Dowland (1562 – 1626) Lodovico da Viadana (1564 – 1645) ARS ANTIQUA Giovanni Gastoldi (15?? - 1622) Perotin (1183-1283) John Wilbye (1574 – 1638) Adam de la Halle (1240-1287) Thomas Weelkes (1575 – 1623) Melchior Franck (1579 – 1639) ARS NOVA Orlando Gibbons (1583 – 1625) Guillaume de Machaut (1304-1377) BAROK RENESANSA John Dunstable (1370-1453) Giulio Caccini (1546 – 1618) Giles Binchois (1400 – 1460) Giovanni Gabrieli (1557 – 1612) Johannes Okeghem (1430 – 1495) Hans Leo Hassler (1564 -1612) Heinrich Isaac (1450 – 1517) Claudio Monteverdi (1567 – 1643) Jacob Obrecht (1452 – 1505) Michael Praetorius (1571 – 1621) Juan del Encina (1468 – 1529) Gregorio Allegri (1582 – 1652) Clement Janequin (1485 – 1560) Heinrich Schütz (1585 – 1672) Ludwig Senfl (1490 – 1543) Johann Hermann Schein (1586 – 1630) Costanzo Festa (1490 – 1545) Samuel Scheidt (1587 – 1654) Nicolas Gombert (1490 – 1556) Isaac Posch (? - 1621 ali 1622) Pierre Passereau (1509 – 1547) Janez Krstnik Dolar (1620 -1673) Adrian Willaert (1490 – 1562) Gabrijel Plavec (? - 1642) Cristobal Morales (1500 – 1553) Marc Antoine Charpentier (1634 -1704) Jacob Arcadelt (1505 – 1560) Dietrich Buxtehude (1637 – 1707) Thomas Tallis (1505 – 1585) Johann Christoph Bach (1642 – 1703) Jacobus Clemens (1510 – 1556) Johann Michael Bach (1648 – 1694) Antonio Scandello (1517 – 1580) Henry Purcell (1659 – 1695) Andrea Gabrieli (1520 – 1586) Johann Kuhnau (1660
    [Show full text]
  • The Medici Court and the Development of Italian Madrigal: a Study of the Contributions of Music Patronage in the 16Th Century
    Journal of Taipei Municipal University of Education, Vol.37, No.2, (Nov. 2006) 31~56 31 Humanities & Arts The Medici Court and the Development of Italian Madrigal: A Study of the Contributions of Music Patronage in the 16th Century Shun-Mei Tsai* Abstract The Medici family, who was one of the important music patrons in Florence, Italy, held its political and social power for more than three hundred years. Members of the family were not only the international renowned merchants, but also became major religious leader and Royal court members. The present study centers on the importance of the musical patronage that the Medici court supported during the sixteenth century, a period that the Medici family occupied the most influential power in Florence. The research focuses on the early development of the Italian madrigal which was directly connected to the contribution from the Medici court. The discussion includes the court musicians, the music programs of the court festivities, and the patronage system during this era. The Medici family was neither an aristocracy nor Royal monarchy, however, their positions as the artistic patron made fruitful music life for the Florentine citizens. The musical patronage has made significant contributions for the development of new musical genres, madrigal and opera as well. Keywords: Italian madrigal, music patronage, Medici family * Professor, Department of Music, National Sun Yat-sen University ඒߛՕᖂᖂ໴ЁԳ֮ᢌ๬ᣊمؑק32ʳ ፕ The Medici Court and the Development of Italian Madrigal: A Study of the Contributions of Music Patronage in the 16th Century Shun-Mei Tsai The stages in the development of Italian madrigal, one of the important secular music genres, were divided in two periods: the fourteenth-century and sixteenth-century madrigal (Trecento madrigal and Cinquecento madrigal).
    [Show full text]
  • Mise En Page 1
    GESUALDO - MAIONE TRIBULATIONEM MOTTETTI, MADRIGALI E CAPRICCI CONCERTO SOAVE MARA GALASSI JEAN-MARC AYMES S E R I O T I R R E T G A Z - G I Z GESUALDO - MAIONE ZZT TRIBULATIONEM 319 MOTTETTI, MADRIGALI E CAPRICCI CONCERTO SOAVE MARA GALASSI JEAN-MARC AYMES Certains compositeurs ont marqué la postérité tant Some composers are remembered by posterity as par leurs œuvres que par leur vie. C’est le cas de for much for their lives as for their works. One such Carlo Gesualdo, Prince de Venosa, pas sionné de is Carlo Gesualdo, Prince of Venosa, whose passion musique jusqu’à la plus profonde mélancolie, et ja - for music drove him to the dee pest melancholy, loux jusqu’au meurtre. while his jealousy drove him to murder. Exprimant le dérèglement des sens par le dérè - Expressing mental disturbance through distur bance glement du discours, mais aussi son extrême élabo - of the discourse, but also its extreme ela boration, ration, la musique du Prince nous parle tout à la fois the Prince’s music speaks to us at once of love and d’amour, de désir et de mort. Jean-Marc Aymes et desire and of death. Jean-Marc Aymes and his en - son ensemble nous donnent également à entendre semble also give us a chance to hear a contempo - un contemporain de Gesualdo, Asca nio Maione, rary of Gesualdo, Ascanio Maione, who wrote qui a écrit pour le clavecin, l’orgue et la harpe une astonishing and admirable music for harpsichord, musique étonnante et ad mirable. organ, and harp.
    [Show full text]
  • ALBERT DE RIPPE “UN PERFAICT SONNEUR DE LEUT” Paul O’Dette FRANZ LISZT
    ALBERT DE RIPPE “UN PERFAICT SONNEUR DE LEUT” Paul O’Dette FRANZ LISZT ALBERT DE RIPPE (ca. 1500-1551) Lute Music 1 | Fantasie XIX 3’29 2 | Pavane, La Romanesque 2’40 3 | Gaillarde La Milanoise 1’22 4 | Fantasie III 4’26 5 | Douce mémoire (Pierre Sandrin) 3’50 6 | On en dira ce qu’on voudra (Claudin de Sermisy) 1’45 7 | Fantasie II 4’21 8 | O passi sparsi (Costanzo Festa) 4’59 9 | Pavane 1’32 10 | Galliarde 1’21 11 | Fantasie VIII 3’10 12 | L’eccho [Dieu qui conduis] (Gentian) 3’17 13 | Galliarde 1’23 14 | Fantasie IX 5’35 15 | Or vien ça vien mamie Perrette (Clément Janequin) 1’58 16 | Fantasie I de Guyterne 4’23 17 | Pavane 2’57 18 | Galliarde 1’54 19 | Fantasie XXII 4’54 20 | Martin menoit (Clément Janequin) 2’32 21 | Fantasie V 2’44 22 | Galliarde 1’05 23 | Gaillarde Piemontoise 0’58 24 | Fantasie II de Guyterne 4’11 25 | La Seraphine 4’56 Paul O’Dette 6-course lute after Magno Tieffenbrucker (ca. 1550) by Paul Thomson, London 1984 4-course Renaissance guitar by Andy Rutherford, East Greenbush NY 2015 (16) 4-course Renaissance guitar by Larry Brown, Asheville, NC 1988 (24) Sources 1 Cinquiesme Livre de Tabelature de Luth contenant plusieurs Motetz & Fantasies. Par Maistre Albert de Rippe Mantouan. (Le Roy & Ballard, Paris 1562) 2, 19 Quart Livre de Tabulature de Luth, contenant plusieurs Fantasies, Chansons & Pavanes. Composées par feu Maistre Albert de Rippe de Mantoue. (Le Roy & Ballard, Paris 1553) 3 (Anonymous / possibly by De Rippe) Second Livre de Tabulature de Leut, contenant plusieurs Chansons, Fantasies, Pavanes & Gaillardes, Composées par maistre Guillaume Morlaye jouer de Leut & autres bons Autheurs.
    [Show full text]