DOCSLIB.ORG

Il Trionfo Di Dori

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Trionfo Di Dori IL TRIONFO DI DORI f Mentr’à quest’ombr’intorno Gasparo Costa (fl.1580–1590) [2.59] THE TRIUMPHS OF DORI g Dori à quest’ombre e l’aura Lelio Bertani (1554-1612) [2.02] h Mentre pastori e ninfe Ludovico Balbi (c.1545-1604) [1.57] j Al mormorar de liquidi cristalli Giovanni Giacomo Gastoldi (c.1554-1609) [2.37] 1 Un giorno a Pale sacro Ippolito Baccusi (c.1550-1609) [3.06] k Da lo spuntar de matutini albori Costanzo Porta (1528-1601) [2.36] 2 Dove sorge piacevole Ippolito Sabino (c.1550-1593) [2.49] l Quando dal terzo cielo Giovanni Pierluigi da Palestrina (c.1525-1594) [2.25] 3 Hor ch’ogni vento tace Orazio Vecchi (c.1550-1605) [3.22] 4 Se cantano gl’augelli Giovanni Gabrieli (c.1556-1612) [2.30] Total timings: [72.46] 5 Ninfe e danzar venite Alfonso Preti (fl.1586–1592) [1.50] 6 Leggiadre ninfe a pastorelli amanti Luca Marenzio (c.1554-1599) [2.43] 7 Vaghe ninfe selvagge Giovanni de Macque (c.1550-1614) [2.44] THE KING’S SINGERS 8 All’apparir di Dori anzi del sole Oratio Colombani (c.1550-1595) [2.16] 9 Giunta qui Dori, e pastorelli amanti Giovanni Cavaccio (c.1556-1626) [3.05] www.signumrecords.com 0 Nel tempo che ritorna Annibale Stabile (c.1535-1595) [2.30] q All’ombra d’un bel faggio Paolo Bozzi (c.1550-c.1628) [2.49] Il Trionfo di Dori first published by the Venetian music printer w Sù le fiorite sponde Tiburtio Massaino (c.1550-c.1608) [2.14] Angelo Gardano (1540–1611) in 1592 under e In una verde piaggia Giammateo Asola (c.1532-1609) [2.12] The madrigal, that most polished form of the title Il Trionfo di Dori. r Smeraldi eran le rive il fium’argento Giulio Eremita (c.1550-c.1600) [2.16] secular choral music, first emerged in Italy in t Lungo le chiare linfe Philippe de Monte (1521-1603) [1.46] the 1530s, supplanting a rather more The collection was dedicated to Leonardo y Ove tra l’herbe e fiori Giovanni Croce (c.1557-1609) [2.33] unsophisticated repertoire of secular songs. Sanudo (1544–1607), a nobleman from one of u Quando lieta vezzosa Pietro Andrea Bonini (c.1550-c.1605) [2.19] Italian madrigal composers were soon vying Venice’s oldest and most respected families. with one another to express the meaning of It is thought that the madrigals were composed i Eran ninfe e pastori Alessandro Striggio (c.1536-1592) [2.08] the text as fully as possible through their in honour of Sanudo’s wife, Elisabetta o Più trasparente velo Giovanni Florio (fl.1555–1598) [2.32] music. Most madrigals spoke of love and Giustinian, either at the time of their wedding p Di pastorali accenti Leone Leoni (c.1550-1627) [2.40] mythology, reflecting the most popular themes in 1577, or as a later commemoration of that a Sotto l’ombroso speco Felice Anerio (c.1560-1614) [2.44] of Renaissance culture, and these themes event. Sanudo, who commissioned the poems s L’inargentato lido Gasparo Zerto (c.1550-c.1605) [2.35] are to the fore in the collection of madrigals first, later having them set to music, worked d Quand’apparisti o vag’o amata Dori Ruggiero Giovanelli (c.1560-1625) [2.23] - 3 - closely with Gardano to make the collection sing the praises of Dori, with the refrain Viva TEXTS & TRANSLATIONS available to a wider audience. The surviving la bella Dori (Long live beautiful Dori). correspondence of Gardano gives great credit 1 Un giorno a Pale sacro to Sanudo for his zeal as a patron of the arts; Il Trionfo di Dori remained popular throughout as he writes, Sanudo “assiduously for a number the late 16th and early 17th centuries with Un giorno a Pale sacro One day on the sacred Palatinum of years commissioned the poetry and caused seven print runs, and the influence of the In un bel prato ameno, in a lovely and pleasant field, to be beautifully composed the following collection was felt around Europe. Croce’s Concorsero i pastori l’Arcade ninfe, Shepherds assembled with the nymphs of excellent madrigals from a number of very Ove tra l’herbe e fiori was included in Nicholas De i boschi e monti e de le chiare linfe Arcadia, famous composers.” Yonge’s second collection of Italian madrigals Fauni, Silvan, Sileno, Coming from woods and mountains and clear (Musica Transalpina: the Seconde Book of Chi cantava chi a suono, waters, The collection comprises 29 madrigals by 29 Madrigalls – 1597). This work inspired Thomas Movea lieta carole, Fauns, Silvanus, Silenus. madrigal composers, including many of the Morley to write Hard by a crystal fountain, one Chi di bella ghirlanda facea dono Some were singing, some dancing, most significant Italian musicians of the time, of the 25 works by 23 composers in The Al suo ben al suo sole, To delightful songs. such as Giovanni Gabrieli (c.1556–1612), Giovanni Triumphs of Oriana, compiled by Morley in Quando con dolci accenti, Some gave garlands as a gift Pierluigi da Palestrina (c.1525–1594), Giovanni 1601 to honour Queen Elizabeth the First. Il boscareccio stuol’e i pastori, To their beloved, the sun, Croce (1557–1609), Felice Anerio (c.1560–1614), Mirroring Il Trionfo each of the madrigals in Cantaro et iterar le note i venti, When with sweet words, Giovanni Giacomo Gastoldi (c.1554–1609), the collection ends with the refrain “Long live Viva la bella Dori. The woodland inhabitants and the shepherds, and Alessandro Striggio (c.1536–1592). Other fair Oriana”. In today’s litigious world, such Started singing, the wind echoing back, composers are less well known, with some plagiarism would be dealt with by lawyers and Music by Ippolito Baccusi “Long live beautiful Dori.” of them, as well as some of the poets, being courts, but in the Renaissance such imitation Text by Dom Mauritio Moro highborn associates of Sanudo. was viewed more favourably, with the parody seen as a strong form of flattery. What is true in 2 Dove sorge piacevole The madrigals extol the virtues of Sanudo’s the case of Il Trionfo di Dori is that this was a wife, through the alter ego of the sea-nymph, collection worth imitating. Dove sorge piacevole, Where the Sebethos stream flows gently, Dori, the daughter of Oceanus, the divine Sebeto e dilettevole, There is a sanctuary shaded by trees, personification of the sea from mythology. The David Hurley, 2015 V’é un bel ricetto ch’alte piant’adombrano, Which removes all cares from sad hearts. texts paint an idyllic Arcadian scene, inhabited E da cor mesti ogni gran noia sgombrano, Here among the tender plants sit Venus’ friends, by nymphs, shepherds and satyrs, who all Quivi lieta sedea fra l’herbe tenere. Who with happy voices join together at the end of each madrigal to Gente amica di Venere, Make the air ring. - 4 - - 5 - Ch’in quest’ accenti allegri a voce varia, Let us sing, nymphs and shepherds: I pesci fra la grott’ime e profonde, In caves so deep and remote, Facea risonar l’aria, “Long live beautiful Dori!” Perchè non faccio anch’io, Why I do not do the same, Cantiam ninfe e pastori, Palese l’amor mio, to reveal my love? Viva la bella Dori. Cantiam dunque pastori, Then let us sing together, shepherds, Viva la bella Dori. “Long live beautiful Dori.” Music by Ippolito Sabino Text by Francesco Bozza Cavallier Music by Giovanni Gabrieli Text by Oratio Guarganite 3 Hor ch’ogni vento tace 5 Ninfe e danzar venite Hor ch’ogno vento tace, Now that the wind is hushed E sol fresch’aura spira in queste fronde, And only a cool breeze blows in the boughs, Ninfe e danzar venite, Nymphs, come to dance, Che dolcemente tempr’il cald’estivo, Gently relieving the heat of the summer, E voi driadi e napee, And you too, dryads and wood nymphs, Sediam qui tutti in pace, We sit here peacefully, Perché con l’altre dee, With all the deities, E al marmorar de l’onde, And, to the murmur of the waves Possiate insiemi unite, You can give my nymph endless praise Di questo chiaro rilucente rivo, Of this clear stream, Dar all ninfa mia lodi infinite, By each singing to give her everlasting honour, Cantiam ninfe e pastori, Let us sing, nymphs and shepeherds: Cantand’a gara in sempiterni honori, “Long live beautiful Dori!” Viva la bell Dori. “Long live beautiful Dori!” Viva la bella Dori. Music by Orazio Vecchi Music by Alfonso Preti Text by Giovanni Battista Zuccarini Text by Dom Vitaliano Giscaferio 4 Se cantano gl’augelli 6 Leggiadre ninfe a pastorelli amanti Se cantano gl’augelli, If the birds are chirping Leggiadre ninfe e pastorelli amanti Gentle nymphs and loving shepherds, Do sopra gl’arboscelli, In the tress, Che con lieti sembianti, With happy faces Se scherzan gl’animali, If the animals play In quest’ombrosa valle à l’onde chiare, In this valley by the clear flow Ne i campi punti d’amorosi strali, In the fields, pricked by Love’s arrow, Di vivo font’hoggi vi trasse Amore, Of this bubbling brook, Cupid brought you Se guizzando festeggiano nel’onde, If wriggling fishes celebrate among the waves, A scieglier fior a fiore, To chose flower by flower, - 6 - - 7 - Per tesser ghirlandette, e coronare, To weave garlands, and to crown 8 All’apparir di Dori anzi del sole La mia ninfa gentile, My gentle nymph. Mentre vezzosi satiri e silvani While satyrs and sylvans All’apparir di Dori anzi del sole, At the rising of the sun came Dori, Ne I lor’habiti strani, In their costume Vedersi germogliar rose e viole, And roses and violets were seen to bud, Danzan con mod’humile, Dance with humility, Et ad onta del verno, And, banishing winter, Voi cantare spargend’e rose e fiori, And sing, scattering roses and flowers: Rise à l’herbe, à le piante April eterno, Eternal April shone in the flowers and trees.
Load more

Recommended publications
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Archivio Musicale Della Cattedrale Di Brescia (LUGLIO 1961)
    MONOGil"FIE DI STO "I" "RESCI"N" . LV MEMORIE STORICHE DELLA DIOCESI DI BRESCIA FondolOn Mono. PAOlO GUEUINI \ 'OU .1 m : XX\"!II . 1 ~6 1 . FASC ICOLO III SOMMARIO A" .. "o Il'L'·'',",.' . •; I e n ~o ,lcll" O[w"" ""i· >te nl< " "lI"A", h i.i~ ,llu,i"lI" ,Idi. C. " e­ ,1,.1. d i Il..-i. ( 1. ,,~lio 1961) l '·~· j] OnA'"W C'ULl.U' . Un 1'"n,ir... I" ".I .... ""I" .\V ( '''.n" ""iU" (,o"erin. A.V. 21) · .. A'"To,,,, •.Aj.p", . L. CI,i"" . ,Id l'. ",..,iniu ,Ii Mori. I c'ginr in 1 01 T.'.,r,l. · " CU" '.LO Bo'EU.' . I... 01'''''' ,I"o rte ,1.11 . chi ••• d.1 l'.,,,,,,;,,;u ,lo Il ..i. l' .r~i ,,,,; n n~""i. , IDJ - Nn!.. nihl;08 .. ~d,. • III UHt; SC [A LI'<UTYI'O(;IIA fI.\ !!QUA;;;!!'· \ )I CML lI"l ANTONIO BRUNELLI Elenco delle opere esistenti nell" Archivio Musicale della Cattedrale di Brescia (LUGLIO 1961) Avvertenze L Sono state conservate la segnatura e la collocazione delle cartelle. che risalgono a precedenti sistemazioni. 2. I palchetti son stati numerati dall'alto in basso, per conservare il prcesistente ordine nella collocazione delle cartelle. 3. Le cartelle segnate con numerazione progressiva e con la lettera A contengono musiche stampate; le altre, segnate con la sola nume­ razione progressiva, contengono musiche manoscritte. Normalmente, per ogni opera, vi sono le parti per le voci (almeno una per voce) e, dove' sia richiesto daUa composizione, la parte per organo e le parti per altri strumenti.
    [Show full text]
  • Lecture 22 Outline
    21M.220 Fall 2010 Class 22 RISE OF OPERA AND CLAUDIO MONTEVERDI 1. Madrigal Comedy: Orazio Vecchi’s L’amfiparnaso (Chandos Records, 2004) 2. Beginnings of the Baroque Style a. A Renaissance of Sorts in the late 16th century b. Florentine Camerata i. Salon of Count Giovanni de’ Bardi in Florence ii. intermedi iii. Caccini, Perfidissimo volto from Le nuove musiche (c. 1590) 1. Monody 2. Continuo (=basso continuo or thoroughbass or [un]figured bass) c. Cavalieri, Rappresentatione di Anima, et di Corpo (1600): expanded intermedo into a full play. d. Jacopo Peri (1561–1633) i. Euridice ii. Il stile recitativo e. Together we have the stile moderno or the seconda prattica, but the stile antico or prima prattica would continue 3. Monteverdi: Outline of Life: Cremona 1567–Venice 1643 a. One of the earliest compositional prodigies: first book of madrigals at age 15 b. 1590 moves to Mantua to enter the service of Vincenzo I Gonzaga [pic] to be “suonatore di vivuola” c. Mantua: Birthplace of the Frottola (early 16th c.); main composer Giaches de Wert. d. Travels to Florence and probably sees opera for the first time. First performances of musical theater in Mantua 1598. e. Work included teaching (a tenor and soprano), directing the women’s choir, compos- ing short theatrical pieces. 4. From the Nine Books of Madrigals a. Cruda Amarilli, published 1605, Fifth Book of Madrigals, but composed before this b. Five voices plus continuo ad libitum c. (Giovanni Maria) Artusi controversy: 1600, Venice: L’Artusi, overo Delle imperfettioni della moderna musica. (The Artusi: or on the imperfections of modern music) d.
    [Show full text]
  • Western Culture Has Roots in Ancient
    24 11. Statement: These musical/theatrical genres needed an interest in ancient Greek drama in order for opera to Chapter 14 come to life. The Invention of Opera 12. What were the two views of music in ancient Greek tragedy? 1. [307] What is the etymology of the word opera? Give a Only the choruses were sung (Andrea Gabrieli, 1585, Oedipus definition. Rex); the play was sung throughout (Girolamo Mei) Italian for work; a drama with continuous, or nearly continuous, music that is staged with scenery, costumes, 13. (310) What were Mei's conclusions? and action Single melody sung by a soloist or chorus with or without accompaniment. The melody (register, rhythms, tempo) 2. Do the same for libretto. could have a powerful effect on the listener Italian for little book; usually a play in rhymed or unrhymed verse 14. What was the Florentine camerata? Who were its members? 3. What are the two viewpoints of opera's origin? Circle or association (an academy); Bardi, Galilei, Caccini, 1. Recreate ancient Greek tragedy (a drama, sung throughout, (Peri) in which music conveys the emotional effects) 2. Blend of existing genres (plays, theatrical spectacles, dance, 15. What was Galilei's published work? madrigals, and solo song) Dialogo della musica antica et della moderna, 1581. Polyphony can't accurately represent the emotional 4. List briefly the distant precedents. meaning of text; word painting and such were childish Choruses and principal lyric speeches in the plays of Euripides and Sophocles were sung; liturgical plays; Renaissance 16. What genre resulted? Definition, please. plays often had songs or offstage music Monody; accompanied solo singing 5.
    [Show full text]
  • ¢ List of Secular and Devotional Compositions by Luca Marenzio
    ¢ List of Secular and Devotional Compositions by Luca Marenzio edited by Paolo Cecchi The present list includes all of Luca Marenzio’s vocal compositions based on secular and devotio- nal texts in Italian, grouped by appearance in their first known sources, which, with one exception, are all printed editions. The list also includes the only instrumental composition attributed to the composer, the “Sinfonia” published in the Intermedii et concerti, fatti per la commedia rappresentata in Firenze nelle nozze del Serenissimo Don Ferdinando Medici, e madama Christiana di Loreno, gran duchi di Toscana (Venice: Giacomo Vincenti, 1591). The first section (A) of the list presents all of the compositions published in the twenty- three single-author editions (five books of canzonettas and eighteen of madrigals) that Marenzio published between and 1599, organized by the number of voices in ascending order. The second section (B) contains compositions that were first published in miscellaneous collections,I printed or in manuscript, chronologically ordered and identified by their abbreviations from the RISM volume Recueils imprimés, XVIe–XVIIe siècles. For every book of madrigals and canzonettas, section A provides in summary format the bibliographical data, dedicatee information, reference to bibliographical works that fully des- cribe the edition, reference to modern editions, and any reprints subsequent to the editio princeps. The entries for individual compositions include the text incipit,II the author of the literary text (if I Between the end of the sixteenth century and the early decades of the seventeenth century two types of collective editions for the madrigal and the canzonetta became established, both of which presented a set of compositions by different composers: a) editions resulting from a unitary editorial project, almost always of literary or laudatory-celebrative character, consisting of unpublished pieces composed specifically for the occasion.
    [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]
  • Fourth Annual Italian Madrigal Symposium
    Fourth Annual Italian Madrigal Symposium Cipriano de Rore, c.1515–65 DePaul University School of Music Holtschneider Performance Center 2330 N. Halsted St. Chicago, IL 60614 12–13 October 2019 SATURDAY, 12 OCTOBER 2019 Holtschneider Performance Center, DePaul University, Room 319 9:00—9:30 COFFEE AND PASTRIES SESSION I 9:30—10:40 COMPOSITION AND DESIGN Jessie Ann Owens (UC Davis), Chair Paul Schleuse, Binghamton University (SUNY) • The Doctor’s Serenade: Madrigal parodies in Banchieri’s canzonettas Peter Schubert, McGill University • Formal Designs in Willaert's Music 10:40–11:00 BREAK 11:00–12:10 TIBURZIO MASSAINO AND THE MADRIGAL Peter Schubert (McGill University), Chair Martin Morell, NY • Tiburzio Massaino’s Second Thoughts Jessie Ann Owens, UC Davis • Mode and System in a Massaino Madrigal: Evidence from the Versions of I’ piango e grido sempre 12:15–2:00 LUNCH SESSION II Holtschneider Performance Center, DePaul University, Room 319 2:00–3:45 POETRY IN CONTEXT Giuseppe Gerbino (Columbia University), Chair Timothy McKinney, Baylor University • Hermeneutic Evolution and Intertextuality in Five Settings of Petrarch’s I’ vo piangendo i miei passati tempi Russell O’Rourke, Columbia University • “Imitating the Words” in Music: The View from the Poetics Commentary Tradition Seth Coluzzi, Colgate University • Mode, Motives, and the Makings of a Multi-parte Madrigal: Monteverdi’s Ecco, Silvio, colei che ’n odio hai tanto 2 SESSION II CONTINUED 3:45–4:00 BREAK 4:00–5:10 MADRIGALS AND PLACE I Robert L. Kendrick (University of Chicago), Chair
    [Show full text]
  • Carnevale Rinascimentale Di Ferrara Note Di Sala
    Carnevale Rinascimentale di Ferrara Con il concerto “Villanelle e frottole” il Dipartimento di musica antica del Conservatorio Domenica 07 febbraio 2016, ore 11:00 G. Frescobaldi di Ferrara darà voce e suono al Palazzo Roverella Carnevale rinascimentale dedicato a Isabella (Corso della Giovecca 47, Ferrara) d’Este. Dipartimento di Musica Antica A colorare questo affresco sonoro si alterneranno del Conservatorio “G.Frescobaldi” di Ferrara le voci dell’ Ensemble di Canto Rinascimentale Classe di Canto Rinascimentale e Barocco: prof. Gloria Banditelli Classe di Tromba: prof. Martina Dainelli e gli squilli del quartetto di trombe antiche del Conservatorio, costituitosi recentemente. Note di Sala Il programma ci accompagnerà in un viaggio ludico PROTAGONISTI DEL CONCERTO che dai canti a boire del Medioevo, ci porterà verso i contenuti rustici e maliziosi delle villanelle fino a ENSEMBLE VOCALE: giungere alla versione giocosa del madrigale serio Maria Dalia Albertini, Valeria D’Astoli, Caterina Tonini - soprano Gloria Banditelli, Angela Troilo - alto di Palestrina: Vestiva i colli e le campagne intorno Salvatore Jacobelli - tenore che Banchieri trasformò in: Moreno Ilicini, Niccolò Roda - basso Rostiva i corni e le castagne al forno. ENSEMBLE DI TROMBE BAROCCHE: Martina Dainelli Gli esecutori non mancheranno di condurre per Francesco Perin Michele Santi mano il pubblico nella comprensione di questo Eugenio Sorrentino raffinato gioco del travestimento musicale. Alessandro Casali - clavicembalo PROGRAMMA Anonimo sec XVI “La violetta (che la beltà presto finisce)” Anonimo “Lord Mayor’s Fanfare” Josquin Des Pres (1450-1527) “El grillo” Ballata Provenzale sec.XII-XIII “A l’entrade del temps clar” Adriano Banchieri (1567-1637) da La pazzia senile “Intermedio sopra la morte di un grillo” dai Carmina Burana sec.
    [Show full text]
  • Orazio Vecchi, Musica E Cultura Tra Modena E Gli Estensi
    Ministero per i beni e le attività culturali Direzione generale per i beni librari e gli istituti culturali Biblioteca estense universitaria, Modena Il Theatro dell’udito Orazio Vecchi 1605 / 2005 IV Centenario della morte Orazio Vecchi, musica e cultura tra Modena e gli Estensi 28 settembre 2005 – 31 gennaio 2006 A cura di Alessandra Chiarelli Largo S. Agostino 337, I-41100 Modena Tel +39 059 222 248 — Fax +39 059 230 195 [email protected] http://www.cedoc.mo.it/estense beu-mo-2005_orazio-vecchi — 2 ORAZIO VECCHI , M USICA E CULTURA TRA MODENA E GLI ESTENSI 1 Nell’ambito delle celebrazioni in onore di Orazio Vecchi per il IV centenario della sua morte, la Biblioteca Estense Universitaria gli dedica una mostra nella quale la figura e la produzione del compositore prendono luce da un’ampia presentazione del contesto culturale coevo, con particolare riguardo all’ambito modenese ed estense. Un’ottica di interrelazione e interdisciplinarità caratterizza il complesso di queste iniziative, a sottolineare come l’attività vecchiana accolga molteplici aspetti e influenze culturali. Tale ottica viene qui interpretata secondo l’ovvia vocazione istituzionale di una Biblioteca che conserva fonti di storia e cultura, non escluso un patrimonio musicale tra i più preziosi. Pertanto ne risulta un percorso che tratteggia prima l’ambito estense, mediante un essenziale excursus sulle testimonianze della sua grande tradizione (e della raccolta, perspicua e continua, di quanto nasce non solo dal proprio ma anche dagli altri principali centri culturali) e con una piccola finestra sulla fine del Cinquecento, riservando alcuni spazi particolari alle fonti dell’altissima vita musicale ferrarese.
    [Show full text]
  • A Concert of Early Music Chapman Early Music Choir
    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 11-8-2002 A Concert of Early Music Chapman Early Music Choir Sung Man Lee Chapman University John Paul Putney Chapman University Yoon Cho Chapman University Bill Sovich Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman Early Music Choir; Lee, Sung Man; Putney, John Paul; Cho, Yoon; and Sovich, Bill, "A Concert of Early Music" (2002). Printed Performance Programs (PDF Format). Paper 1073. http://digitalcommons.chapman.edu/music_programs/1073 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. HaecDies Sicut Cervus Desiderat This is the Day Motet Organ um in the style of Leonin By Giovanni da Palestrina Performed By: Sung Man Lee Performed By: John Paul Putney Early Music Choir Born roughly circa 1150, Leonin is regarded as one of the most important figures Emma Schneider, Conductor of early polyphony. During his lifetime, he served as a canon in the Notre Dame Cathedral. Leonin is believed to have died in the year 1201, leaving behind a large body Giovanni da Palestrina (c.1525-1594 ), whose name was derived from his possible of important musical and poetic treatises. Organum is the first known genre of birth place, was one of the primary composers of the late 16th century.
    [Show full text]
  • Madrigali a Sei Voci
    Orazio Vecchi Madrigali a sei voci prima parte edizione critica di Mariarosa Pollastri I Quaderni di Musicaaa!Musicaaa!Musicaaa! --- 19 --- I Quaderni di Musicaaa! a cura della redazione di Musicaaa! Musicaaa! periodico di cultura musicale direttore Fiorenzo Cariola redazione: Gherardo Ghirardini, Carlo Marenco, Piero Mioli Orazio Vecchi. Madrigali a sei voci Il primo libro di madrigali di Orazio Vecchi fu pubblicato nell'anno 1583: si tratta dei Madrigali a sei voci (Venezia, A. Gardano).1 Alla raccolta, che rimarrà la sola per quest'organico, seguirà l'edizione, anch'essa unica, dei Madrigali a cinque voci (Venezia, A. Gardano), nel 1589. Due raccolte in tutto che non danno assolutamente la misura della vastissima produzione madrigalistica di Vecchi, racchiusa in antologie ed in stampe dal carattere eterogeneo (e vasta al punto da far riflettere su come la fama di Vecchi autore principalmente di canzonette e madrigali rappresentativi sia da rivedere).2 Il 1583 è un anno particolare per svariati motivi che riguardano Vecchi, ma non solo; lo si può considerare un preciso punto di riferimento nel tempo che permette di osservare Vecchi anche nelle sue relazioni, nei suoi interessi, nelle sue città di riferimento, in una sorta di viaggio intorno al personaggio e alla sua musica. Come già detto, il 1583 è innanzi tutto l'anno della sua prima edizione di madrigali, una stampa molto interessante perché, come vedremo dettagliatamente, ha già un'impostazione composita (nonostante il titolo unificante Madrigali a sei voci), che anticipa lavori successivi; è anche l'anno della nomina di Vecchi a Maestro di Cappella del Duomo di Modena, sua città natale, incarico che ricoprì (a parte un'interruzione negli anni 1586-93, in cui operò a Correggio) fino alla morte, avvenuta nel 1605.
    [Show full text]