DOCSLIB.ORG

Sweelinckworks for Keyboard, Volume 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sweelinckworks for Keyboard, Volume 2 Paduana Lachrymae SweelinckWorks for Keyboard, Volume 2 CHAN 0758 Robert Woolley harpsichord / virginal CHANDOS early music Jan Pieterszoon Sweelinck (1562 – 1621) Keyboard Works, Volume 2 1 Toccata Noni Toni, SwWV 297/L 16 5:21 2 Esce mars, SwWV 321/N 3 4:33 3 Paduana Lachrymae, SwWV 328/N 10* 5:19 4 Allemand (Gratie), SwWV 318/N 7* 3:52 (formerly known as More Palatino) Portrait painting by Gerrit Pieterszoon Sweelinck (1566 Sweelinck Pieterszoon Gerrit by painting Portrait – ?1628)/AKG London Images, 5 Toccata C2, SwWV 283/L 20 3:28 6 Die flichtig Nimphae (Vluchtige nymph), SwWV 331/not in N 2:08 Jan Pieterszoon Sweelinck 3 13 Unter der Linden grune (Onder een linde groen), * 5:21 7 Toccata Primi Toni d2, SwWV 286/L 15 3:55 SwWV 325/N 8 14 8:01 8 Mein junges Leben hat ein Endt, SwWV 324/N 6 6:24 Fantasia Crommatica à 4 d1, SwWV 258/L 1 TT 63:37 9 Toccata à 3 G2, SwWV 289/L 23 2:17 Robert Woolley harpsichord/virginal* 10 Pavan Philippi, SwWV 329/N 11 7:02 Copy by Malcolm Rose, 2004, of a harpsichord by Lodewijk Theewes of 1579 in the collection of the Victoria and Albert Museum, London, kindly loaned by Douglas Amrine 11 Toccata Secundi Toni g1, SwWV 292/L 21* 2:38 Copy by Adlam Burnett, 1979, of a muselar virginal by Ioannes Ruckers of 1611 in the collection of the Vleeshuis Museum, Antwerp, 12 Von der Fortuna werd ich getrieben (Engelse Fortuijn), provided by the Finchcocks Musical Museum SwWV 320/N 2* 3:12 Pitch: A = 415 Hz Temperament: Fifth comma mean tone 4 5 Italian, particularly Venetian, keyboard music and procedures. What does the surviving Sweelinck: Keyboard Works, Volume 2 (Andrea Gabrieli, Merulo) and from English music in the manuscript sources tell us music (Blitheman, Bull, Philips). Alan Curtis about the player-improviser? An extant covered this latter influence in great detail score, of course, only captures one particular Who was Jan Pieterszoon Sweelinck, the prohibited from playing their instrument in in his ground-breaking book Sweelinck’s ‘working out’ of an idea or group of ideas: it so-called ‘Orpheus of Amsterdam’? Of his the services, a situation that was to remain Keyboard Music (Leiden, 1969). The most is perhaps best seen as an idealised version, early life, we know that he was born in the the case until long after Sweelinck’s death. comprehensive investigation of Sweelinck’s recording not a single ‘performance’ but the eastern Dutch city of Deventer in 1562; Sweelinck was a renowned organ expert keyboard music is by Pieter Dirksen: optimum treatment of themes, control of that his father, Peter Swybbertszoon (Jan (details survive of his travels to various Dutch The Keyboard Music of Jan Pieterszoon contrapuntal textures, construction of form, Pieterszoon later took his mother’s family towns to inspect organs) and a sought-after Sweelinck (Utrecht, 1997). Dirksen’s new and application of florid passagework. In name), and other members of his family organ teacher. Many organists came to study works catalogue numbering (SwWV) his harpsichord and virginal recital, Robert were organists; that the family moved to with him, particularly from Germany, and is employed in this text, alongside the Woolley selects five toccatas, a fantasia, and Amsterdam when Jan was two years of age he was later termed the ‘hamburgischen numbering used in the second edition eight sets of variations on secular melodies. so that his father could take up the organist’s Organistenmacher’, as he taught the organists (1974) of the Opera Omnia collections of the Collectively, the five toccatas recorded post at the Oude Kerk (Old Church); and who went on to occupy the posts at the four keyboard music (published under the control here show what this virtuosic genre meant that his early music education was probably principal churches in Hamburg. of three editors: L[eonhardt], Annegarn, to Sweelinck: the controlled synthesis and gained through his father, his father’s There are some 254 vocal works (psalm and N[oske]). Two editions of Sweelinck’s dramatic organisation of chordal sonorities, successor (Cornelis Boskoop), and Jan settings, motets, chansons, madrigals) keyboard music have recently been published: contrapuntal argument, and florid passagework. Willemszoon Lossy at nearby Haarlem. to Sweelinck’s name and around seventy Dirksen’s (in collaboration with Harald On closer inspection, these challenging works Throughout his working life, Sweelinck keyboard works in various genres; the vocal Vogel) for Breitkopf & Härtel, and Siegbert are also expert demonstrations of how small held the position that his father had held works were printed, but, by comparison, Rampe’s for Bärenreiter. Each edition takes rhythmic-melodic motifs can be ordered, at the Oude Kerk. The town’s Protestant the keyboard works were circulated in into account recent Sweelinck research and expanded through repetition over a specific magistracy controlled this position (after manuscripts, mainly by pupils. We owe a gives fresh readings of the available sources. harmonic scheme, and made to explore the the Dutch Republic’s official adoption of debt of gratitude to the scribes, therefore, for Sweelinck the keyboardist was, of course, full compass of the keyboard. For instance, the Protestantism in 1578), not the church, and preserving the keyboard music (performance an improviser. As an organist playing Toccata C2, SwWV 283/L 20 begins with it employed him to play organ ‘recitals’ every can be argued on a case-by-case basis for his daily concerts or as a harpsichordist simple, ascending and descending scales and day and to oversee the maintenance of the either organ or stringed keyboard instrument) providing entertainment at social functions flowing counterpoint. Short, repetitive motifs church’s large and small organs (which were and for allowing us to glimpse Sweelinck’s (only occasionally it seems), he was used to emerge, first in the right hand (over sustained owned by the town, not the church). In the multifaceted, late-Renaissance keyboard inventing different sorts of music out of his left hand chords) and then the left hand newly Reformed Amsterdam, organists were style, which shows distinct influences from head according to learnt, formulaic patterns (under sustained right hand chords); focusing 6 7 equally on right and left hands, the composer when defining ‘Fantasie’, the principal and diminution (theme in short note values); Die flichtig Nimphae (Vluchtige nymph), reveals in the remainder of the work a lexicon kind of music made ‘without a dittie’ it is a work with a mounting sense of drama SwWV 331/not in N of patterned motifs (formed from scales (i.e. unsupported by text): as it becomes increasingly enlivened (and at Esce mars, SwWV 321/N 3 and broken chords) explored methodically …that is, when a musician taketh a point the end is brought to a climax) by decorative Mein junges Leben hat ein Endt remains through repetition. The Toccata à 3 G2, at his pleasure, and wresteth and turneth figuration. the best known of Sweelinck’s sets of SwWV 289/L 23 shares a similar propensity it as he list, making either much or little The many surviving variation cycles – on keyboard variations on secular melodies. towards simple order and control. The of it according as shall seem best in sacred melodies (Calvinist psalm melodies and After a simple setting of the haunting melody Toccata Primi Toni d2, SwWV 286/L 15 is his own conceit. In this may more art Lutheran chorale melodies) and on secular (the simplicity returns in the final variation), representative of those toccatas that feel less be showne than in any other musicke, songs or dances – attest to Sweelinck’s prowess the variations increase in pace and complexity, formulaic when they are studied and practised because the composer is tide to nothing and ingenuity in this genre. In fact, the only each variation exploiting line by line different (and therefore perhaps less pedagogical in but that he may adde, diminish, and alter eyewitness account of Sweelinck performing ideas. Here, as elsewhere in Sweelinck’s origin?), and in their engineering of drama at his pleasure. is from Guillelmus Baudartius (1625), who variations and in other genres, much of and display more progressive in concept and This Fantasia is an eloquent, sectional essay recalled hearing Sweelinck improvise around the patterned embellishment is redolent of gesture. In SwWV 286, flowing counterpoint that explores one essential and at that time twenty-five variations on a secular tune:Den that adopted by Elizabethan and Jacobean gives way very subtly to expansive scales across familiar theme: the descending chromatic lustelicken Mey is nu in zijnen tijdt (The merry virginalists in their artful and internationally the keyboard; strict, imitative counterpoint fourth, or as it was later termed, the passus May has now arrived). Here are the cycles disseminated keyboard works. In fact, the brings a rational contrast thereafter, before duriusculus (‘a somewhat hard step’), which presented in this recital in possible date order, first three of the above-listed works have very florid writing returns to provide a concluding starts on the tonic note and falls to the following Pieter Dirksen’s recent research, the clear English connections in terms of style cadenza-like flourish. The Toccata Noni dominant note via all intervening semitones. earliest from around 1606, the latest quite and source: the melody set in SwWV 320 Toni, SwWV 297/L 16 and the Toccata In unequal temperaments this theme has definitely from the period 1614/1615: was also set by Byrd. SwWV 328 is a setting Secundi Toni g1, SwWV 292/L 21 provide an intriguing character. In its structure Von der Fortuna werd ich getrieben of Dowland’s famous pavan, and SwWV 329 further demonstration of toccata forms, the and ambition one sees in the Fantasia (Engelse Fortuijn), SwWV 320/N 2 takes the influential pavan of 1580 by Peter latter being of particular interest to the player Crommatica characteristics typical of the Paduana Lachrymae, SwWV 328/N 10 Philips as a basis for variations.
Load more

Recommended publications
  • English Music from the Golden Age
    The Flute and the Lute. Vol. 2 English music from the Golden Age Second Edition Settings for lute and treble instrument by Joaquim Bogunyà Chesa Introduction to the second edition Here you will find a compilation of pieces of some of the best English music from the 16 th and 17 th centuries especially arranged for the recorder flute or any other treble instrument and the lute or the vihuela. The settings have been made according to the same criteria as in Vol 1. I am copying them out here below. In my honest opinion, the ideal setting or transcription is that which fits best the language of the instrument on which the music is to be played. This implies the idea that the best transcription is not necessarily that which includes every single note from the original piece at the same pitch, full stop. Consequently, the settings that you will find in this book are intended to be a faithful transcription of the ‘spirit’ of the music, and not necessarily of the ‘body’ or mere musical appearance. This has been made in order to serve the main purpose of this book; that is, to arrange a repertoire of pieces of wonderful early music in a way that they can be played in a most satisfying manner on the recorder and the lute. In this book you will find different types of transcriptions. Some which are hundred percent true, or at least ninety-nine percent, to the original source – most of the recorder parts are-, and others where some ornamentation (according to the common 16 th century taste) has been included.
    [Show full text]
  • Multiple Choice
    Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance.
    [Show full text]
  • ACET Junior Academies'
    ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression.
    [Show full text]
  • Foreword Orlando Gibbons
    Foreword Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was a virginalist and organist of the late Tudor and early Jacobean periods. His Life Gibbons was born in 1583 (most likely in December) and baptised on Christmas Day at Oxford, where his father William Gibbons was working as a wait. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university as a sizar in 1598 and achieved the degree of Bachelor of Music in 1606. That same year he married Elizabeth Patten, daughter of a Yeoman of the Vestry, and they went on to have seven children (Gibbons himself was the seventh of 10 children). King James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and was buried in Canterbury Cathedral. His death was a shock to his peers and brought about a post-mortem, though the cause of death aroused less comment than the haste of his burial and his body not being returned to London.
    [Show full text]
  • Richard Goode, Piano
    Sunday, April 22, 2018, 3pm Zellerbach Hall Richard Goode, piano PROGRAM William Byrd (c. 1539/40 or 1543 –1623) Two Pavians and Galliardes from My Ladye Nevells Booke (1591) the seconde pavian the galliarde to the same the third pavian the galliarde to the same Johann Sebastian Bach (1685 –1750) English Suite No. 6 in D minor, BWV 811 (1715 –1720) Prelude Allemande Courante Sarabande - Double Gavotte I Gavotte II Gigue Ludwig van Beethoven (1770 –1827) Sonata No. 28 in A Major, Op. 101 (1815 –16) Etwas lebhaft, und mit der innigsten Empfindung. Allegretto, ma non troppo Lebhaft. Marschmäßig. Vivace alla Marcia Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro INTERMISSION Claude Debussy (1862 –1918) Préludes from Book Two (1912 –13) Brouillards—Feuilles mortes—La puerta del Vino—Les fées sont d’exquises danseuses— Bruyères—“Général Lavine” – excentric— La terrasse des audiences du clair de lune— Ondine—Hommage à S. Pickwick Esq. P.P.M.P.C.— Canope—Les tierces alternées—Feux d’artifice Richard Goode records for Nonesuch Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 7 PROGRAM NOTES William Byrd Among Byrd’s most significant achievements Selections from My Ladye Nevells Booke was the raising of British music for the virginal, William Byrd was not only the greatest com - the small harpsichord favored in England, to poser of Elizabethan England, but also one of a mature art, “kindling it,” according to Joseph its craftiest politicians. At a time
    [Show full text]
  • English Lute Manuscripts and Scribes 1530-1630
    ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 An examination of the place of the lute in 16th- and 17th-century English Society through a study of the English Lute Manuscripts of the so-called 'Golden Age', including a comprehensive catalogue of the sources. JULIA CRAIG-MCFEELY Oxford, 2000 A major part of this book was originally submitted to the University of Oxford in 1993 as a Doctoral thesis ENGLISH LUTE MANUSCRIPTS AND SCRIBES 1530-1630 All text reproduced under this title is © 2000 JULIA CRAIG-McFEELY The following chapters are available as downloadable pdf files. Click in the link boxes to access the files. README......................................................................................................................i EDITORIAL POLICY.......................................................................................................iii ABBREVIATIONS: ........................................................................................................iv General...................................................................................iv Library sigla.............................................................................v Manuscripts ............................................................................vi Sixteenth- and seventeenth-century printed sources............................ix GLOSSARY OF TERMS: ................................................................................................XII Palaeographical: letters..............................................................xii
    [Show full text]
  • Pavane from Pelléas and Mélisande Gabriel Fauré (1845-1924) the Entertainer Scott Joplin (1868-1917) Tango a Trois David Burndrett Radetzky March Johann Strauss Sr
    BROOMFIELD SYMPHONY ORCHESTRA “COME AS YOU ARE, STAY IN YOUR CAR” SATURDAY, JULY 25, 2020, 7:00 pm FOUR CROWS FARM, LONGMONT BSO WIND DECTET Laura Bolinger, Carol Codrescu, Lynn Scribner, flute & piccolo Holly Clifford, oboe Beth Johnson, Chelle Limon, clarinet Morag Barrett, Bill Patterson, bassoon David Brussel, Jan Tafoya, horn Two Marches, WoO 18 (Yorckscher March) & WoO 19 Ludwig van Beethoven (1770-1827) Easy Winners Scott Joplin (1868-1917) arr. Ray Thompson Folk Songs from Somerset, from English Folk Song Suite Ralph Vaughan Williams (1872-1958) arr. Lisa Portus Who’s Sorry Now (1923) Ted Snyder (1881-1965) arr. Kenneth Abeling Habanera from Carmen Georges Bizet (1838-1875) arr. Ray Thompson Farandole from L’Arlésienne Georges Bizet arr. Ray Thompson BSO CELLO TRIO Chris Parchmann, Lizbeth Duncan, Lucy Petrocco Rondo from Trio Op. 83 No. 1 James Hook (1746-1827) Pavane from Pelléas and Mélisande Gabriel Fauré (1845-1924) The Entertainer Scott Joplin (1868-1917) Tango a Trois David Burndrett Radetzky March Johann Strauss Sr. (1804-1849) Dance Arts Studio Heidi Thomas, Director BSO FIDDLE CLUB Sarah Delevoryas, Jim Roecker, Nancy Larson, Margaret Bohn, Mira Narayan, Lucy Petrocco, Dusty Munger (bass), Eric Harbeson (percussion) Bonnie Brae Jigs: Nicky Tams, The Heather Hills, Cherish the Ladies, Tripping Up the Stairs Mairi’s Wedding Polkas: Mairi’s Wedding, I’ll Tell Me Ma, The Maids of Ardagh, The Siege of Ennis Robert Burns songs with guest vocalist Denise Beaber: My Love She’s But a Lassie Yet My Love is Like a Red, Red Rose Kenmure’s Up and Awa’ Scotland the Brave Dance Arts Studio has been educating dancers in the Broomfield area since 1961.
    [Show full text]
  • Jordi Savall and Hespèrion XXI
    jordai savall revised for web.qxp_Layout 1 1/25/17 7:13 AM Page 24 jordai savall revised for web.qxp_Layout 1 1/25/17 7:13 AM Page 25 Friday, January 27, 2017, 8pm Zellerbach Hall Jordi Savall and Hespèrion XXI Jordi Savall, treble viol and director Philippe Pierlot, alto and bass viol Imke David, tenor viol Lorenz Duftschmid, bass viol Xavier Puertas, violone Xavier Díaz-Latorre, theorbo and guitar David Mayoral, percussion Musica Nova 1500–1700 Venetian Influences in Musical Europe Ricercari, Capricci, Canzone, Sonate, Danze & Variazioni 1500 DANZE VENEZIANE Anonymous Pavana del Re – Galliarda la Traditora El Todescho – Saltarello Giorgio Mainerio Hungaresca 1540 MUSICA NOVA Hieronimus Parabosco Ricercare XIV “Da Pacem” 1589 RICERCARI & CAPRICCI Andrea Gabrieli Ricercar VII Giovani Battista Grillo Capriccio V 1612 ELIZABETHAN & JACOBEAN CONSORT MUSIC John Dowland Lacrimae Pavan The King of Denmark Galliard Orlando Gibbons In Nomine a 4 William Brade Ein Schottisch Tanz 1600-1630 FANTAISIES & DANCES AT THE COURT OF LOUIS XIII Anonymous (Mss. Philidor) Pavane de la petite Guerre & Gaillarde Luigi Rossi Fantaisie “Les pleurs d’Orphée” Anonymous (Mss. Philidor) Sarabanda “A l’impero d’amore” Bourrée d’Avignonez INTERMISSION Opposite: Photo by David Ignaszewski PQ jordai savall revised for web.qxp_Layout 1 1/25/17 7:13 AM Page 26 PROGRAM 1601 CANZONE ALLA FRANCESE Giuseppe Guami Canzon 7 “La Cromatica” Canzon 4 “Sopra La Battaglia” 1621 LUDI MUSICI IN GERMANY Samuel Scheidt Paduan V Courant Dolorosa IX Allemande XVI Galliard Battaglia XXI 1644 CORONA MELODICA Biagio Marini Passacaglia à 4 1673 LA CET RA Giovanni Legrenzi Sonata VI a 4 viole da gamba 1680-1700 IBERIAN FOLIAS & DANCES Pedro de San Lorenzo Folia (Obra de 1 er Tono, No.
    [Show full text]
  • Norfolk Chamber Music Festival Also Has an Generous and Committed Support of This Summer’S Season
    Welcome To The Festival Welcome to another concerts that explore different aspects of this theme, I hope that season of “Music you come away intrigued, curious, and excited to learn and hear Among Friends” more. Professor Paul Berry returns to give his popular pre-concert at the Norfolk lectures, where he will add depth and context to the theme Chamber Music of the summer and also to the specific works on each Friday Festival. Norfolk is a evening concert. special place, where the beauty of the This summer we welcome violinist Martin Beaver, pianist Gilbert natural surroundings Kalish, and singer Janna Baty back to Norfolk. You will enjoy combines with the our resident ensemble the Brentano Quartet in the first two sounds of music to weeks of July, while the Miró Quartet returns for the last two create something truly weeks in July. Familiar returning artists include Ani Kavafian, magical. I’m pleased Melissa Reardon, Raman Ramakrishnan, David Shifrin, William that you are here Purvis, Allan Dean, Frank Morelli, and many others. Making to share in this their Norfolk debuts are pianist Wendy Chen and oboist special experience. James Austin Smith. In addition to I and the Faculty, Staff, and Fellows are most grateful to Dean the concerts that Blocker, the Yale School of Music, the Ellen Battell Stoeckel we put on every Trust, the donors, patrons, volunteers, and friends for their summer, the Norfolk Chamber Music Festival also has an generous and committed support of this summer’s season. educational component, in which we train the most promising Without the help of so many dedicated contributors, this festival instrumentalists from around the world in the art of chamber would not be possible.
    [Show full text]
  • Pavane and Galliard Anthony Holborne Introduction Music For
    Pavane and Galliard Anthony Holborne Introduction These two short pieces belong to the genre known as ‘consort music’, a popular form of domestic music-making in Elizabethan England. The word ‘consort’ itself may have been a representation of the Italian term ‘concerto’ and the French ‘concert’, both of which at one time implied an ensemble of voices or instruments rather than any particular form of piece. Many works were composed in the years from about 1575 to the late seventeenth century both for consorts of viols, as in these pieces, or for mixed ensembles, known as ‘broken consorts’. The usual complement of a broken consort was lute, bandora, treble and bass viols, cittern and flute (the cittern was a wire-stringed instrument, in appearance similar to a lute but with flat back like that of a guitar; the bandora was of the same type but was a bass instrument). Thomas Morley (1557-c1603) scored his Consort Lessons (1599) for this combination, as did Philip Rosseter (c1575-1623) in his Lessons for Consort (1609). Consorts of viols began to appear in England from the time of Henry VIII, who in 1540 appointed to his court a complete consort of players from Italy. The earliest source of English consort music appears to be a Songbook of Henry VIII and many viols were found in his collection at the time of his death in 1547. Music for Consorts of Viols There were three main forms: • the In Nomine, originally based on the In Nomine section of the Benedictus from the Mass Gloria tibi Trinitas by John Taverner (c1495-1545) • the Fancy or Fantasia, a through-composed, usually imitative type of work • the Pavan and Galliard dance forms (singly or paired).
    [Show full text]
  • MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W.
    [Show full text]
  • 20. Sweelinck Pavana Lachrimae (For Unit 6 Further Musical Understanding)
    20. Sweelinck Pavana Lachrimae (For Unit 6 Further Musical Understanding) Background information and performance circumstances Composition of popular music today sometimes involves collaboration between two or more people. With most ‘classical’ music, on the other hand, one composer is responsible, except where he or she deliberately borrows or adapts material from a pre- existing classical work or from the anonymous heritage of chorales, folk melodies, etc. In Pavana Lachrimae Sweelinck at times does little more than transcribe for a different instrument material borrowed from John Dowland, elsewhere embellishing and elaborating the original after the fashion of variations. While it’s natural to speak of Sweelinck as the composer, this is an exaggerated view of his contribution. He is essentially an arranger – in fact, people have been known to refer to Anthology no. 20 as the ‘Dowland/Sweelinck Pavana Lachrimae’. The ‘composer’ Jan Pieterszoon Sweelinck (1562(?)–1621) lived and worked in the Netherlands, chiefly in Amsterdam. He was born into a family of organists, and one of his sons carried on the tradition. He composed much vocal music, both sacred and secular, a little music for lute, and a good deal for keyboard. Some of his keyboard music shows the influence of English composers for the virginals – he apparently knew John Bull and Peter Philips – and his fantasias in particular point ahead to later German organ music, and in particular the work of J.S. Bach. Pavana Lachrimae Three of the six sections of Pavana Lachrimae are varied and embellished versions for keyboard of music by Sweelinck’s almost exact contemporary, the Englishman John Dowland (1563–1626).
    [Show full text]