Profeti Della Quinta
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EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Summer 2020
EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Summer 2020 PROGRAM #: EMN 20-01 RELEASE: June 22, 2020 Treasures from Wolfenbüttel Starting in the late Renaissance, the court at Wolfenbüttel in northern Germany emerged as a cultural center. The dukes of the house of Welf employed high-profile composers like Michael Praetorius to increase their prestige, but lesser masters like Daniel Selichius made their mark as well. In this edition of Early Music Now, we'll hear from both composers, with performances by the Huelgas Ensemble and Weser-Renaissance Bremen. PROGRAM #: EMN 20-02 RELEASE: June 29, 2020 Those Talented Purcells This week's show focuses on Henry Purcell, and his lesser-known brother (or cousin) Daniel. We'll hear chamber music by both composers, plus selections from the semiopera they worked on together: The Indian Queen, from a 2015 release by The Sixteen. PROGRAM #: EMN 20-03 RELEASE: July 6, 2020 The Lost Voices of Hagia Sophia This week's program showcases an extraordinary recent release from the Portland-based ensemble Cappella Romana. This recording of medieval Byzantine chant composed for Hagia Sophia was recorded entirely in live, virtual acoustics, and soared to #1 on Billboard's Traditional Classical chart! These evocative sounds linger in the soul long after the music fades. PROGRAM #: EMN 20-04 RELEASE: July 13, 2020 Salomone Rossi: Revolutionary Jewish composer Salomone Rossi was a musician who served the Gonzaga court in Mantua. They valued him so highly that he was given a relatively large amount of personal freedom, while other members of the Jewish faith were restricted. -
Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources). -
Programmbuch Festtage Alte Musik Basel
Basel, 23. bis 31. August 2013 Programmbuch Festtage Alte Musik Basel Wege zum Barock – Tradition und Avantgarde um 1600 www.festtage-basel.ch Titel: Pieter Lastman (1583–1633), David im Tempel, 1618, signiert und datiert, Holz, 1 79 cm x 117 cm, Herzog Anton Ulrich-Museum, Braunschweig Zum Geleit Mit der grössten Freude stelle ich der zweiten Edition der Festtage Alte Musik Basel diesen Gruss voran! Die Freude betrifft zuerst die Tatsache, dass die «Kulturstadt Basel» mit sol- chen Ereignissen eine «Fes- tivalstadt» par excellence ist, in der ein hervorragen- des Potenzial an Kreativität herrscht. Grund zur Freu- de ist auch die Bereiche- rung des grossen Gebiets Abdruck mit Quellenangabe erwünscht der Alten Musik, die seit © 2013 Paul Sachers Zeiten einen Verein zur Förderung Basler Absolventen Schwerpunkt des hiesigen auf dem Gebiet der Alten Musik Musiklebens darstellt. Aber Dornacherstrasse 161 A, CH-4053 Basel auch das Auftreten vieler Telefon +41 (0)61 361 03 54 berühmter europäischer En- CH17 0840 1016 1968 0160 3 sembles in Basel, die ohne dieses Festival hier nicht [email protected] zu hören wären, ist sehr lo- www.festtage-basel.ch benswert. Besonders erfreu- Redaktion: Jörg Fiedler, Peter Reidemeister lich ist aber das klare Profil Satz, Gestaltung: Buser, Kommunikation GmbH, Basel des Programms, das höchste Dr. Guy Morin, Regierungspräsident Druck: Druckerei Dietrich AG, Basel Qualität mit der Förderung des Kantons Basel-Stadt des Basler Nachwuchses verbindet: Wer in dieser Stadt Festtage Basel seine Ausbildung durchlaufen und diesem hohen Stan- Geschäftsleitung: Renato D. Pessi Künstlerische Leitung: Peter Reidemeister dard standgehalten hat, der hat es auch verdient, dass er hier mit Engagements zu solchen Ereignissen wei- Preis: 10 Franken terhin Unterstützung erfährt. -
ADORATIO.-Over-Heiligen-Martelaren-En-Geliefden.Pdf
Inhoudstafel Voorwoord | Philip Heylen 9 Laus Polyphoniae 2017 | dag aan dag 13 Introductie | Bart Demuyt 23 Essays Verering van de maagd Maria en het Kind in muziek uit de middeleeuwen en de renaissance | David J. Rothenberg 29 Romance met de roos: de minnekunst in het middeleeuwse en renaissancelied | Jane Alden 125 Een andere Petrarca: Italiaanse renaissancemuziek en Petrarca’s poëzie | Marc Vanscheeuwijck 195 Trahe me post te: muziek, gemeenschap en devotie in het vroegmoderne katholicisme | Daniele V. Filippi 305 Concerten VR 18/08/17 20.00 Stile Antico 41 ZA 19/08/17 10.00 IYAP-concertwandeling 53 11.00 Alexandra Aerts, Lieselot De Wilde & Sofie Vanden Eynde 83 16.00 Alexandra Aerts, Lieselot De Wilde & Sofie Vanden Eynde 83 20.00 Patrizia Bovi, Fadia Tomb El-Hage & Friends 85 22.15 Huelgas Ensemble 101 ZO 20/08/17 10.00 IYAP-concertwandeling 53 11.00 Alexandra Aerts, Lieselot De Wilde & Sofie Vanden Eynde 83 16.00 Alexandra Aerts, Lieselot De Wilde & Sofie Vanden Eynde 83 20.00 Cappella Pratensis, Flanders Boys Choir & Wim Diepenhorst 115 4 5 MA 21/08/17 13.00 Ensemble Leones 141 Radio-uitzending, cursussen, lezingen 20.00 Mala Punica 151 KlaraLive@LausPolyphoniae 27 22.15 Stile Antico 149 Ad tempo taci | filmdocumentaire met Marco Beasley 175 Petrarca & music | lezing door Marc Van Scheeuwijck 217 DI 22/08/17 13.00 VivaBiancaLuna Biffi & Pierre Hamon 165 Mariadevotie en heiligenverering in de late middeleeuwen | cursus 253 20.00 Vox Luminis 179 Isola Idola | muziekvakantie voor kinderen & jongeren 303 22.15 Zefiro Torna & Frank -
An Italian Tune in the Synagogue: an Unexplored Contrafactum by Leon Modena∗
Kedem G OLDEN AN ITALIAN TUNE IN THE SYNAGOGUE: AN UNEXPLORED CONTRAFACTUM BY LEON MODENA∗ ABSTRACT Leon Modena, one of the celebrated personalities of Italian Jewry in the early modern period, is known for his extensive, life-long involvement with music in its various theoretical and practical aspects. The article presents additional evidence that has gone unnoticed in previous studies of Modena’s musical endeavors: his adaption of a polyphonic, secular Italian melody, for the singing of a liturgical hymn. After identifying the melody and suggesting a possible date for the compo- sition of the Hebrew text, the article proceeds to discuss it in a broader context of the Jewish musical culture at the turn of the sixteenth and seventeenth centuries, in particular contemporary Jewish views to the use of “foreign” melodies in the syna- gogue. The article concludes with an attempt to situate it as part of Modena’s thought of art music. RÉSUMÉ Léon Modène, une des personnalités célèbres du judaïsme italien du début de la période moderne, est connu pour s’être impliqué de près dans le monde de la musique et ses divers aspects, aussi bien théoriques que pratiques. Le présent article présente un exemple supplémentaire de cette implication, passé inaperçu dans les études antérieures: l’adaptation par Modène d’une mélodie polyphonique profane italienne en un hymne liturgique. Après avoir identifié la mélodie et suggéré la date éventuelle de la composition du texte hébreu, l’article analyse cet hymne dans le contexte plus large de la culture musicale juive au tournant des XVIe et XVIIe siècles, notamment en tenant compte des opinions juives contemporaines sur l’usage de chants «étrangers «dans la synagogue. -
Hebreo: Rossi's Mantua House Program
2019-2020: The Fellowship of Early Music Hebreo: ROSSI’S MANTUA Guest Ensemble Profeti della Quinta JANUARY 31 & FEBRUARY 1, 2020 2019-2020 Jeanne Lamon Hall, Trinity-St.Paul’s Centre Season Sponsor THANK YOU! This production is made possible by The David Fallis Fund for Culture Bridging Programming It is with sincere appreciation and gratitude that we salute the following supporters of this fund: Anonymous (2) Matthew & Phyllis Airhart Michelle & Robert Knight Rita-Anne Piquet The Pluralism Fund Join us at our Intermission Café! The Toronto Consort is happy to offer a wide range of refreshments: BEVERAGES SNACKS PREMIUM ($2) ($2) BAKED GOODS ($2.50) Coffee Assortment of Chips Assortment by Tea Assortment of Candy Bars Harbord Bakery Coke Breathsavers Diet Coke Halls San Pellegrino Apple Juice Pre-order in the lobby! Back by popular demand, pre-order your refreshments in the lobby and skip the line at intermission! PROGRAM The Songs of Salomon HaShirim asher liShlomo Music by Salomone Rossi and Elam Rotem Salomone Rossi Lamnatséah ‘al hagitít Psalm 8 (c.1570-1630) Elohím hashivénu Psalm 80:4, 8, 20 Elam Rotem Kol dodí hineh-zéh bá Song of Songs 2: 8-13 Siméni chachotám al libécha Song of Songs 8: 6-7 Girolamo Kapsperger Passacaglia (ca. 1580-1651) Salomone Rossi Shir hama’alót, ashréy kol yeré Adonái Psalm 128 Hashkivénu Evening prayer Elam Rotem Shechoráh aní venaváh Song of Songs 1: 5-7 Aní yeshenáh velibí er Song of Songs 5:2-16, 6:1-3 INTERMISSION – Join us for the Intermission Café, located in the gym. -
Defending Salamone Rossi: the Transformation and Justification of Jewish Music in Renaissance Italy Joshua R
Defending Salamone Rossi: The Transformation and Justification of Jewish Music in Renaissance Italy Joshua R. Jacobson Imagine yourself in a synagogue in Venice some four hundred years ago; Shylock’s synagogue. What would the service sound like? You would probably hear the cantor and the entire congregation chanting in the traditional Jewish manner, in free rhythm, without musical instruments. The cantor might have a few “assistants,” improvising drones or primitive harmonies. The music would be improvised within the proper ancient Middle Eastern modes, resulting in a rich semi-coordinated heterophony of sound. We have an interesting source that describes Italian synagogue music from this period. In 1608 the Englishman Thomas Coryat set out on a tour across the European continent. After his return he published his impressions of the countries in which he had traveled. The following is an excerpt from the chapter, “Observations of Venice,” in which he describes the music of the synagogue. …an exceeding loud yaling, undecent roaring, and as it were a beastly bellowing of it forth. And that after such a confused and hudling manner, that I thinke the hearers can very hardly understand him: sometimes he cries out alone, and sometimes againe some others serving as it were his Clerkes hard without his seate, and within, do roare with him, but so that his voyce (which he straineth so high as if he sung for a wager) drowneth all the rest.1 Perhaps Coryat was portraying the synagogue in a negative light for theological reasons; the church had to be seen (and heard) as being superior to the synagogue, which it had superseded. -
Profeti Della Quinta
Profeti della Quinta „Renaissancemusik zum Verlieben!“ titelten die Potsdamer Neueste Nachrichten und bestätigten damit, dass man mit dem Repertoire des 16. und 17. Jahrhunderts begeistern kann. Das Vokalensemble Profeti della Quinta hat sich eben dieser Musik verschrieben und sein Ausgangspunkt ist das fundierte Musizieren nach der Aufführungspraxis der jeweiligen Zeit, gepaart mit dem Bewusstsein für das heutige Publikum und dessen Hörgewohnheiten. Das Ensemble wurde in Galiläa in Israel von Elam Rotem, Bassist und Cembalist, gegründet. Mittlerweile ist es in der Schweiz ansässig, wo alle seine Mitglieder weiterführende Studien an der Schola Cantorum Basiliensis absolvierten. Wie der Name schon sagt, besteht das Ensemble im Kern aus fünf Sängern, die nach Bedarf mit befreundeten InstrumentalistInnen und SängerInnen aus der Schweiz, Japan und Australien zusammenarbeiten. Erste Bekanntheit erlangten die „Profeti“ durch Emilio de Cavalieris Lamentationen (1600) sowie Salomone Rossis Hashirim asher li’Shlomo (1623), der ersten Veröffentlichung hebräischer, polyphoner Musik. Mit der CD-Einspielung dieses Werks und eines Dokumentarfilms über Salomone Rossi, gefilmt an den Originalorten in Mantua, wurde dann auch die internationale Presse auf das schweizerisch-israelische Ensemble aufmerksam. Und zusammen mit dem Preis des York Early Music Young Artists Competition (2011) kamen dann die ersten wichtigen Einladungen aus Europa, Nordamerika, Israel, China und Japan. Zu den wichtigsten internationalen Festivals und Reihen gehören u.a. das Oude Muziek Festival Utrecht, das Rheingau Musik Festival, die Musikfestspiele Potsdam, die Beethovenfest Bonn, das London Festival of Baroque Music, die Einladung in das Metropolitan Museum of Art in New York oder in die Shanghai Concert Hall. 2019 begeisterte Profeti della Quinta gemeinsam mit etwa 15 Gästen unter der musikalischen Leitung von Elam Rotem das Publikum der Trigonale im österreichischen St. -
Jacobson 2020
Editing Rossi Preparing the synagogue music of Salamone Rossi —published in 1622— for modern performers -Joshua R. Jacobson 2020 Editing Rossi Joshua Jacobson page 2 In 1622 Bragadini Publishers in Venice issued a collection of polyphonic motets the likes of which had never been seen before. This was an anthology of motets not for the church, but for the synagogue, with lyrics not in Latin but in Hebrew. Composed by the Mantuan Jew Salamone Rossi, this unique collection was destined to remain the only one of its kind for several centuries. We don’t know much about Salamone Rossi. He was born circa 1570. His first published music is a book of nineteen canzonets printed in 1589.1 His last published music is dated 1628, a book of two-part madrigaletti. And after that there is nothing. Perhaps he died in the plague of 1628. Perhaps he died during the Austrian invasion in 1630. We just don’t know. His published output consists of six books of madrigals, one book of canzonets, one balletto from an opera, one book of madrigaletti, four books of instrumental works (sonatas, sinfonias, and various dance pieces), and the path-breaking collection of synagogue motets: in all, some 313 compositions published between 1589 and 1628. Rossi also composed music for a renowned Jewish theatre ensemble, but, alas, none of it was published, none has survived.2 Rossi was employed at the ducal palace in Mantua, where he served as a violinist and composer. He was quite the avant garde composer. His trio sonatas are among the first to appear in print.3 Rossi’s -
The Choral Music of Salamone Rossi Hebreo
AMERICAN CHORAL REVIEW JOSHUA R. JACOBSON THE CHORAL MUSIC OF SALAMONE ROSSI JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XXX • NUMBER 4 • FALL 1988 AMERICAN CHORAL REVIEW ALFRED MANN, Editor ALFREDA HAYS, Assistant Editor Associate Editors EDWARD TATNALL CANBY ANDREW C. MINOR RICHARD jACKSON MARTIN PICKER WESLEY S. COFFMAN T he AMERICAN CHORAL REVIEW is published quarterly as the official journal of The American Choral Foundation, Inc. The Foundation also publishes a supplementary Research Memorandum Series. Membership in The American Choral Foundation is available for an annual contribution of $35.00 and includes subscriptions to the AMERICAN CHORAL REVIEW and the Research Memorandum Series and use of the Foundation's advisory services. All contributions are tax deductible. Multiple back issues of the AMERICAN CHORAL REVIEW and Research Memorandum Series are housed and maintained a t the Temple University Boyer College of Music, Philadelphia, D epartment of Choral Activities, Alan Harter, Chairman. A computerized, annotated listing of the contents of back issues by author, title, subject, and period has been assembled as a j oint project of Temple University and the American Choral Foundation. Back issues of the AMERICAN CHORAL REVIEW are available to members a t $5.00; back issues of the Research Memorandum Series at $2.00. Bulk prices will be quoted on request. Through affiliation with the American C horal Directors Association the Foundation offers membership to American Choral Directors Association members at a reduced contribution amount. Please consult the boxed announcement on the inside back cover for details. THE AMERICAN CHORAL FOUNDATION, INC. Administered by Chorus America Kenneth Garner, Executive Director 2111 Sansom Street Philadelphia, Pennsylvania 19103 (215) 563-2430 Material for publication should be submitted in duplicate. -
AEC Early Music Platform 2017 at the Royal Conservatoire the Hague
AEC Early Music Platform 2017 at the Royal Conservatoire The Hague 23rd – 24th March 2017 Curious about Curricula? Early Music study programmes today and tomorrow 1 The AEC would like to express deep gratitude to the Royal Conservatoire The Hague for hosting and co-organising the EMP Meeting 2017. The AEC team would also like to express special thanks to the members of the EMP preparatory working group, EUBO and REMA for their tremendous support in organising the platform programme. 2 Table of Contents INTRODUCTION: Curious about Curricula? Early Music study programmes today and tomorrow ............................................................................................................................................................ 5 PROGRAMME ...................................................................................................................................................... 6 THURSDAY 23rd MARCH .......................................................................................................................... 6 FRIDAY 24th MARCH ................................................................................................................................. 8 KC Concert Programme - Friday 24th March,17:45 Oude Katholieke Kerk .................. 9 Pascal Bertin, Counter-tenor ....................................................................................................... 10 ABSTRACTS of the SESSIONS and SPEAKERS’ BIOGRAPHIES .................................................... 11 Plenary Keynote -
The Monteverdi Festival Programme
THE MONTEVERDI FESTIVAL PROGRAMME Saturday 5th May, 9.00 pm – Chiesa S. Marcellino GLORIA E IMENEO Musiche di A. Vivaldi EUROPA GALANTE Sonia Prina, mezzosoprano Vivica Genaux, mezzosoprano Fabio Biondi, direzione Commissioned in 1725 by the French Ambassador in Venice to commemorate the nuptials of Louis XV and the Polish princess Maria Leszczynska, the serenata Gloria e Imeneo contains some of Vivaldi’s finest music, alternating virtuosity with elegance, poignancy, and dramatic fervour. Hymen and Glory compete each other in celebrating the radiant future of the French monarchy, and in congratulating the young royal couple in the most extravagant style, to join in a grand finale. The inaugurating battle of the Festival will be fought by two ravishing Baroque heroines, Sonia Prina and Vivica Genaux, accompanied by Fabio Biondi’s exciting Europa Galante. Sunday 6th May, 6.00 pm – Auditorium Giovanni Arvedi (Museo del Violino) PROLOGUE Prologhi e Sinfonie di G. Caccini, F. Cavalli, A. Cesti, C. Monteverdi, A. Stradella IL POMO D’ORO Francesca Aspromonte, soprano Enrico Onofri, violino e direzione Eurydice, Dido, Venus, the Austrian Glory, the Peace, Art of Painting, Music…. Nymphs, queens, gods and allegorical characters used to introduce the audience to 17th century operas; themes and feeling were quickly set, anticipating the meaning of the plot they would soon learn. A selection of the most beautiful prologues and symphonies by Cavalli, Cesti, Monteverdi and Stradella are embodied here by rising star Francesca Aspromonte and the fresh and dynamic ensemble Il Pomo d’Oro lead by Enrico Onofri. Tuesday 8th May, 9.00 p.m. – Palcoscenico del Teatro Ponchielli MADRIGALI, MOTTETTI, CANZONI DA SONAR Musica strumentale a Venezia tra Cinque e Seicento di G.Gabrieli, L.