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Sarabande | Grove Music
Sarabande Richard Hudson and Meredith Ellis Little https://doi.org/10.1093/gmo/9781561592630.article.24574 Published in print: 20 January 2001 Published online: 2001 Richard Hudson One of the most popular of Baroque instrumental dances and a standard movement, along with the allemande, courante and gigue, of the suite. It originated during the 16th century as a sung dance in Latin America and Spain. It came to Italy early in the 17th century as part of the repertory of the Spanish five- course guitar. During the first half of the century various instrumental types developed in France and Italy, at first based on harmonic schemes, later on characteristics of rhythm and tempo. A fast and a slow type finally emerged, the former preferred in Italy, England and Spain, the latter in France and Germany. The French spelling ‘sarabande’ was also used in Germany and sometimes in England; there, however, ‘saraband’ was often preferred. The Italian usage is ‘sarabanda’, the Spanish ‘zarabanda’. 1. Early development to c1640. The earliest literary references to the zarabanda come from Latin America, the name first appearing in a poem by Fernando Guzmán Mexía in a manuscript from Panama dated 1539, according to B.J. Gallardo (Ensayo de una biblioteca española de libros raros y curiosos, Madrid, 1888–9, iv, 1528). A zarabanda text by Pedro de Trejo was performed in 1569 in Mexico and Diego Durán mentioned the dance in his Historia de las Indias de Nueva-España (1579). The zarabanda was banned in Spain in 1583 for its extraordinary obscenity, but literary references to it continued throughout the early 17th century in the works of such writers as Cervantes and Lope de Vega. -
Bengt Hambraeus' Livre D'orgue
ORGAN REGISTRATIONS IN BENGT HAMBRAEUS’ LIVRE D’ORGUE CRITICAL EXPLORATIONS AND REVISIONS Mark Christopher McDonald Organ and Church Music Area Department of Performance Schulich School of Music McGill University, Montreal, Quebec May 2017 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies. © 2017 Mark McDonald CONTENTS Index of Figures ......................................................................................................................... iv Abstract ..................................................................................................................................... vi Résumé ..................................................................................................................................... vii Acknowledgements .................................................................................................................. viii I. Introduction – Opening a Time Capsule .................................................................................. 1 Bengt Hambraeus and the Notion of the “Time Capsule” .................................................... 2 Registration Indications in : Interpretive Challenges......................................... 3 Livre d’orgue Project Overview ................................................................................................................ 4 Methodology ..................................................................................................................... -
The Baroque Offertoire : Apotheosis of the French Organ Art
The Baroque Offertoire : Apotheosis of the French Organ Art By Copyright 2016 Song Yi Park Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Colin Roust ________________________________ Dr. Bradley Osborn ________________________________ Professor Jerel Hildig Date Defended: November 1, 2016 The Dissertation Committee for Song Yi Park certifies that this is the approved version of the following dissertation: The Baroque Offertoire : Apotheosis of the French Organ Art ________________________________ Chairperson Dr. Michael Bauer Date approved: November 1, 2016 ii Abstract During the French Baroque period, the function of the organ was primarily to serve the liturgy. It was an integral part of both Mass and the office of Vespers. Throughout these liturgies the organ functioned in alteration with vocal music, including Gregorian chant, choral repertoire, and fauxbourdon. The longest, most glorious organ music occurred at the time of the offertory of the Mass. The Offertoire was the place where French composers could develop musical ideas over a longer stretch of time and use the full resources of the French Classic Grand jeu , the most colorful registration on the French Baroque organ. This document will survey Offertoire movements by French Baroque composers. I will begin with an introductory discussion of the role of the offertory in the Mass and the alternatim plan in use during the French Baroque era. Following this I will look at the tonal resources of the French organ as they are incorporated into French Offertoire movements. -
A Study of Ravel's Le Tombeau De Couperin
SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today. -
Timothy Burris—Baroque Lute
Early Music in the Chapel at St Luke's Les Goûts Réunis Timothy Neill Johnson—tenor & Timothy Burris—Lute with Michael Albert—violin & Eliott Cherry—'cello So wünsch ich mir zu guter letzt ein selig Stündlein J.S. Bach (1685 - 1750) Jesu, meines Herzens Freud Bist du bei mir Der Tag ist hin Et è per dunque vero Claudio Monteverdi (1567 - 1643) Sonata seconda Dario Castello (c. 1590 – c. 1658) Prelude Amila François Dufaut (1600 – 1671) Tombeau de Mr Blanrocher Music for a while Henry Purcell (1659 – 1695) Evening Hymn Sweeter than roses Domine, Dominus noster André Campra (1660 – 1744) The Composers J.S. Bach The three chorales with figured bass included here are from the Gesangbuch published by Georg Christian Schemelli in 1736. The 69 pieces attributed to Bach in the mammoth Gesangbuch (which contains no fewer than 950 pieces!) are marked by quiet and pious sentiments, unobtrusive and effortless harmonies. The aria “Bist du bei mir” (BWV 508) was part of Gottfried Heinrich Stölzel's opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost. The aria had been part of the Berlin Singakademie music library and was considered lost in the Second World War, until it was rediscovered in 2000 in the Kiev Conservatory. The continuo part of BWV 508 is more agitated and continuous in its voice leading than the Stölzel aria; it is uncertain who provided it, as the entry in the Notebook is by Anna Magdalena Bach herself. Claudio Monteverdi Claudio Monteverdi, the oldest of five children, was born in Cremona, where he was part of the cathedral choir and later studied at the university. -
Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr. -
Download Booklet
95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’. -
Rolfhamre.Pdf
Index ACKNOWLEDGEMENTS 3 INDEX 5 CO INDEX 7 1. INTRODUCTION 9 1.1. AIM AND APPROACH TO THE PROBLEM 9 1.2. METHOD, STRUCTURE AND MATERIAL A GENERAL DISCUSSION 9 1.3. ON AUTHENTICITY - "TIlE HISTORICAL AWARE CONCEPT" 14 2. PART ONE: FRANCE IN 1650-1700 - A GENERAL VIEW OF THE MAIN PERFORMING SCENES 19 2.1. SALONS 19 2.2. THE MUSIC AT THE COURT OF LOUlsXIV21 2.3. A DISCUSSION OF THE ROLE OF THE LUTE IN 17TH AND 18TH CENTURY FRANCE 23 2.4. CHARACTERISTICS OF THE FRENCH MUSIC IN GENERAL AND MUSIC IN SPECIAL 25 2.5. CONCERTS IN THE 17TH AND 18 TH CENTURY 28 2.6. FRENCH LUTE INFLUENCES IN EUROPE 30 2.7. SUMMARY 31 3. PART TWO: INTERPRETATION OF THE MUSIC 34 3.1. WHATIS INTERPRETATION 34 3.2. ASPIRATION AND SUSPENSION 36 3.3. STILE BRISE 35 3.4. MATTEIS MENTION OF TIME 38 3.5. FRENCH PRELUDE AND ENTREE 39 3.6. PERFORMANCE ON FRENCH DANCES 40 3.6.1. Bouree 40 3.6.2. COllrante 40 3.6.3. Gavotte 41 3.6.4. Giglle and the Canaire 42 3.6.5. Minuet 42 3.6.6. Sarahande 43 3.7. ACCOMPANIMENT 43 3.8. STRUMMING 46 3.9. NOTES IN~:GALES 46 3.10. EMBELLISHMENTS OF l]CH AND 18TH CENTURY FRANCE 47 3.11. ApPOGGIATURAS (PORT-DE-VOlX OR CIIElJTES) 50 3.12. TRILL (TREMBLEMENT) 51 3.13. MORDENT (MARTELLEMENT) 52 3.14. VIBRATO 53 3.15. CRACKLE AND TUT 53 3.16. COLJPERIN'S TABLE OF EMBELLISHMENTS 54 3.17. -
MARIN MARAIS I SAINTE-COLOMBE the Greatest Masterworks Les Plus Grands Chefs-D'oeuvre
I MARIN MARAIS I SAINTE-COLOMBE The Greatest Masterworks Les plus grands chefs-d'oeuvre Spectre dq la Rose Sainte-Colombe (died c.1700) Marin Marais (1656 - 1728) "Those who have heard excellent violists and good concerts of viols know that there is nothing more delightful, after good voices, than the moving strokes of the bow that accompany all the ornaments that are done on the fingerboard, but because it is no less difficult to describe their elegance than it is to describe that of a perfect orator, it is necessary to hear them in order to understand them." In 1636 when the French theorist Marin Mersenne wrote this paragraph in his "Livre Quatriemedes Instruments"theviolwasa relative newcomerto musical life in France. Yet Mersenne'scommentsgive aclearinsight intowhy, fifty years later, it was to be the most hiahlv revered of all instruments. French taste. the elusive 'bon goijt'sooften referredto by writersatthetime, respondedimmediatelyto its unique blendof elegance, delicacy and, above all, an expressivenessakin to the human voice. In England during theseearlydecadesof theseventeenthcenturvtheviolwas alreadyenjoyingenormous popularityamongstthe nobility and wouid continue to doso until the reign of Charles II when theviolin family found favourwith the king. TheinstrumentinitiallvfoundfavourinEnqland becauseof itsohvsicalresemblance tothat most belovedof courtinstrumenG,the lute, thetuningif itssixstrings and the presence of frets on the fingerboard making it easy for lutenists to play yet having the greater expressive potentialthat -
OCTOBER 2018 St. John's Episcopal Church Fishers Island, New York
THE DIAPASON OCTOBER 2018 St. John’s Episcopal Church Fishers Island, New York Cover feature on pages 30–32 ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 10, 2019 Resource Directory Whole No. 1307 At present, we are working on our 2019 Resource Directory, OCTOBER 2018 to be mailed with our January issue. If your business should Established in 1909 be listed in the directory and was not included in 2018, please Stephen Schnurr ISSN 0012-2378 send me an email with your contact information. If your busi- 847/954-7989; [email protected] ness was listed in our directory this year, please review your www.TheDiapason.com An International Monthly Devoted to the Organ, information to ensure it is accurate and complete. Listings are the Harpsichord, Carillon, and Church Music free and can only help your business! Advertising opportunities but they also make a sensible option for those who want to pro- are available for the directory, as well. -
Historical Performance Practice of the Prélude
HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE Ariana Jane Odermatt Australian National University A thesis submitted for the partial fulfilment of the requirements of the degree of Master of Philosophy, School of Music, The Australian National University. © Copyright by Ariana Jane Odermatt 2018 All Rights Reserved 1 Unless otherwise acknowledged in the text, this thesis represents the original research of the author SIGNED: ........................................... DATE: ............................................... 2 HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE ABSTRACT ‘A Prelude is a free composition, in which the imagination gives rein to any fancy that may present itself’ (François Couperin: L'art de toucher Le Clavecin, 1716)1 The enigmatic prélude non mesuré was a short-lived genre characterised by rhythmically free croches blanches (‘flagged white notes’, rather than white quavers)2 and sweeping lines and slurs that were generally notated without specific reference to rhythm or metre. Some of the lines appear to bind the tones into harmonic groups and to articulate cadential and rhythmic units, but the inherent freedom encoded in the notation presents a broad, complex interpretive scope to present-day performers. Given composers' scant written and notational indications as to how they intended the works to be performed, this research seeks to address ways of interpreting the genre in an informed historical sense, whilst surveying current performing practices within Louis Couperin’s Prélude non mesuré in D minor to inform the author’s own performance. Extant préludes non mesurés are contained within two manuscript sources (Parville and Bauyn), while commentary addressing performance interpretation of the notation is limited to three source documents specifically referencing the prélude non mesuré: Nicolas Lebègue’s preface to his Pièces de clavessin (1677), correspondence between Lebègue and an Englishman called Mr. -
M2020091 RIC 427 MONSIEUR COUPERIN 21X28 WEB.Indd
DE FR MENU EN MENU — TRACKLIST P. 4 ENGLISH P. 6 6 FRANÇAIS P. 13 DEUTCH P.20 Recording: Château de Mongeroult, May 2020 Artistic direction, recording and editing: Jérôme Lejeune 22 Tuning of the harpsichord: Émile Jobin English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Cover illustration: the incomplete painting titled Three Men and a Boy by Antoine Le Nain (1599-1648) and one of the three Le Nain brothers. Dated 17th century, London, The National Gallery © The National Gallery, London / akg Photos: – booklet cover: Claude Lefebvre (1632-1675) Portrait of Charles Couperin at the organ with the painter’s daughter alongside him. This magnificent portrait by a painter who had also made portraits of Colbert, Madame de Sévigné, Thomas Corneille, and of various members of the French royal family is a clear testimonial to the high esteem in which Couperin was held at that time. Versailles, Château et Trianons, © akg-images – p 5: Brice Sailly © le philtre – p. 28 Brice Sailly © Jean-Baptiste Millot (Émile Jobin after Tibaut de Tolose, 2005) Tolose, de Tibaut after Jobin (Émile harpsichord SAILLY: Brice — PIÈCES DE CLAVECIN DE PIÈCES Mr COUPERINMr 3 MENU EN FR DE [Pièces en ré ] 1. Prélude (1) 5'43 2. Allemande (36) 3'44 3. Courante (42) 1'18 4. Courante (43) 1'37 5. Sarabande (51) 3'23 6. Canaries (52) 1'36 7. La Pastourelle (54) 1'33 8. Chaconne (55) 2'42 9. Volte (53) 1'03 10. Pavanne [en fa # mineur] (121) 9'15 44 [Pièces en mi-la] 11. Prélude (14) 1'40 12.