The Tallis Scholars
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History of the Portuguese Music: an Overview
HISTORY OF THE PORTUGUESE MUSIC: AN OVERVIEW Rui César Vilão Physics Department, University of Coimbra, PORTUGAL Abstract A brief overview of the history of the Portuguese music is given. In memoriam José Carlos Travassos Cortez 1. PREVIOUS REMARKS Presenting a communication on such a vast field as the subject of this work is usually a task for specialists. Only these are able to smoothly draw a global and coherent picture of their field of study. So, if you are not a specialist (even if you have a deep interest for the field) and you occupy your days working in an entirely different subject (say the physics of muonium states in semiconductors), you are surely in trouble! There are two possible solutions for this dilemma: a) ask a specialist and b) do it à la Newton (even if you're not one), climbing in the shoulders of giants. The mountaineering option was adopted here, and four giants helped me in viewing higher: Rui Vieira Nery and Paulo Ferreira de Castro with their História da Música [1], João de Freitas Branco with his História da Música Portuguesa [2] and José Carlos Travassos Cortez with his passioned and illuminating lessons on the history of Portuguese music that I was lucky to attend in the Conservatório de Musica de Coimbra [3]. I am very pleased to dedicate this work to his memory. Apart from Refs. [1-3], which are available in Portuguese only, all the other references are relative to introductory notes of compact-discs and are generally available in English as well. Of course these discographic indications are not extensive, but I believe they constitute a basis (surely not the only one!) for a good start in Portuguese-specialized melomania. -
III - Duarte Lobo's Audivi Vocem and English Musical Antiquarianism in the Sev- Enteenth to Nineteenth Centuries
III - Duarte Lobo's Audivi vocem and English musical antiquarianism in the sev- enteenth to nineteenth centuries Owen Rees Queen’s College, Oxford Duarte Lobo's motet Audivi vocem de cælo has become in recent decades one of the most ad- mired and most frequently performed and recorded works of Portuguese polyphony. The motet is an expressive setting for six voices of a versicle and response from Vespers of the Dead: Versicle: Audivi vocem de cælo, dicentem mihi: Response: Beati mortui qui in Domino moriuntur. (I heard a voice from heaven, saying unto me: Blessed are the dead which die in the Lord.) Archival research reveals that the piece's fame has not been restricted to modern times, but that it enjoyed an earlier—and extended—period of considerable popularity and esteem, namely among lovers of what was then called 'ancient music' in eighteenth- and nineteenth-century Eng- land. * * * * * The first half of the seventeenth century is widely recognized as a period of particular rich- ness for sacred music in Portugal, as represented by the works of such as Manuel Cardoso, Filipe de Magalhães, and Duarte Lobo. In general, the works of these composers seem not to have been much known elsewhere in Europe, apart from Spain and in some cases Italy. This situation may be ex- plained in part by the fact that most published Portuguese music was issued by the local press of Craesbeeck in Lisbon. The case of Duarte Lobo, however, represents an exception, since four col- lections of his music were issued by the Plantin firm in Antwerp. -
MANUEL CARDOSO Missa Secundi Toni and Other Works
MANUEL CARDOSO Missa Secundi Toni and Other Works MANUEL CARDOSO 2 Magnifcat Octavi Toni* 7:56 ESTÊVÃO DE BRITO 2 Sancta Maria* 3:54 ESTÊVÃO LOPES MORAGO 3 Commissa mea pavesco* 3:42 CARDOSO Missa Secundi Toni* 29:55 *FIRST RECORDINGS 4 I Kyrie 7:01 **FIRST RECORDINGS IN THIS VERSION 5 II Gloria 5:11 6 Ecce mulier Chananea 3:04 7 III Credo 8:30 ANON. 8 Obra de Segundo Tom* 2:08 CARDOSO 9 Aquam quam ego dabo 2:33 Missa Secundi Toni* 10 IV Sanctus 1:52 11 V Benedictus 2:28 12 Sitivit anima mea** 4:18 13 VI Agnus Dei 5:03 14 Non mortui** 4:38 2 ANON. 15 Passo de Segundo Tom* 2:40 MANUEL CARDOSO CARDOSO 2 Magnifcat Octavi Toni* 7:56 16 Magnifcat Quinti Toni* 7:46 ESTÊVÃO DE BRITO FILIPE DE MAGALHÃES 2 Sancta Maria* 3:54 17 Commissa mea pavesco** 4:57 ESTÊVÃO LOPES MORAGO 3 Commissa mea pavesco* 3:42 TT 77:51 CARDOSO Missa Secundi Toni* 29:55 The Choir of Girton College, Cambridge *FIRST RECORDINGS 4 I Kyrie 7:01 1 – 2 4 – 7 9 – 11 13 16 – 17 **FIRST RECORDINGS IN THIS VERSION 5 II Gloria 5:11 Historic Brass of the Royal Academy of Music 6 Ecce mulier Chananea 3:04 (Jeremy West, leader) 1 – 5 7 10 – 14 16 – 17 1 5 7 8 10 13 15 17 7 III Credo 8:30 Lucy Morrell, organ – – – – Gareth Wilson, director 1 – 7 9 – 14 16 – 17 ANON. 8 Obra de Segundo Tom* 2:08 CARDOSO 9 Aquam quam ego dabo 2:33 Missa Secundi Toni* 10 IV Sanctus 1:52 11 V Benedictus 2:28 12 Sitivit anima mea** 4:18 13 VI Agnus Dei 5:03 14 Non mortui** 4:38 3 ‘PEARLS OF IRREGULAR SHAPE’: MANUEL CARDOSO AND HIS MUSIC by Ivan Moody Portuguese music from the sixteenth and seventeenth centuries, once even less known in the Anglophone world than that of Spain, has, over the course of the past three decades or so, come to be reassessed as something of unique power and beauty, independent of any stylistic canons and boundaries. -
The Villancicos De Negros in Manuscript 50 of the Biblioteca Geral Da Universidade De Coimbra
THE VILLANCICOS DE NEGROS IN MANUSCRIPT 50 OF THE BIBLIOTECA GERAL DA UNIVERSIDADE DE COIMBRA: A CASE STUDY OF BLACK CULTURAL AGENCY AND RACIAL REPRESENTATION IN 17TH-CENTURY PORTUGAL Joana Luís Alves Simão A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2017 Committee: Arne Spohr, Advisor Sidra Lawrence Mary Natvig © 2017 Joana Luís Alves Simão All Rights Reserved iii ABSTRACT Arne Spohr, Advisor The development of Renaissance Portugal was greatly impacted by the transatlantic slave trade during the colonial period, as the country emerged as a major European power not only financially but also culturally. It is well known that Portuguese musical practices during this period, especially with regard to sacred polyphony, resembled those of other European cultures, however, there is more to this narrative. Knowing that the transatlantic slave trade was one of the major consequences of colonialism, and that by the 16th-century Black Africans represented more than 10% of the population in Lisbon and other cities in Portugal makes it crucial to consider Black Africans as major agents of cultural transfer. As the groundbreaking work of historians Kate Lowe, A. C. de C. M. Saunders and José Tinhorão demonstrates, the presence of Africans had a significant impact on Portuguese social and cultural life. Contemporary written and visual sources (such as paintings) demonstrate that, for instance, music from sub-Saharan Africa was performed in a variety of situations and on different levels of society: in the squares and taverns of early modern Lisbon, in religious processions around the country, and at the Portuguese court. -
AN INTERVIEW with PETER PHILLIPS DIRECTOR of the TALLIS SCHOLARS by Dennis Shrock
AN INTERVIEW WITH PETER PHILLIPS DIRECTOR OF THE TALLIS SCHOLARS by Dennis Shrock DUCATED AT OXFORD UNIVERSITY IN who are struck by the beauty and power of the Great Britain, Peter Phillips has dedicated sound. Thegroup derives its name from the 16th his life's work to the research and century English composer Thomas Tallis. While the performance of Renaissance sacred music. music of Tallis and other well-known English, Through his nearly 100 performances Franco-Flemish, and Italian composers forms the annually with the Tallis Scholars, and basis of their repertoire, the Tallis Scholars embrace numerous recording projects with Gimell the whole of sacred vocal Renaissance music; they Records (which he co-founded in 1981), Mr. Phillips uncover and perform the works of lesser-known has the opportunity to Renaissance masters of the explore Renaissance Spanish,Portuguese, and polyphony to its fullest. He Russian schools. can frequently be heard on The Tallis Scholars have radio broadcasts throughout over two dozen recordings the United States, Canada, on the Gimelliabei. The and worldwide; his first group's recording of Missa book, English Sacred Music Pange lingua and Missa La 1549-1649, has been sol fa re mi of Josquin Des published by Gimell; and he Prez won Gramophone's continues to contribute a 1987 Record of the Year regular column to the award the first ever in its London Spectator. Early Music category to win The Tallis Scholars, hailed that distinction. Since Peter as "a cappella superstars," Phillips founded the Tallis have performed to standing Scholars in 1978, they have room only crowds across the toured throughout western United States ever since their Europe, Australia, Israel, American debut tour in the Far East, and North 1987. -
Opuscula 1602: Responsórios De Natal 4Vv Autor(Es): Lobo, Duarte; Abreu, José, Ed
Opuscula 1602: Responsórios de Natal 4vv Autor(es): Lobo, Duarte; Abreu, José, ed. lit. Publicado por: Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/35896 DOI: DOI:http://dx.doi.org/10.14195/978-989-26-0688-0 Accessed : 5-Oct-2021 12:50:25 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt OBRA PUBLICADA COM A IMPRENSA DA UNIVERSIDADE DE COIMBRA Série Mundos e Fundos Series Mundos e Fundos 9 COORDENAÇÃO CIENTÍFICA COIMBRA UNIVERSITY PRESS 789892 O projecto Mundos e Fundos. Mundos Metodológico e The project Mundos e Fundos: Metho Interpretativo dos Fundos Musicais assenta num tra- dological and Interpretative Worlds of Duarte Lobo (c. -
A Propósito Dos Livros De Polifonia
A propósito dos livros de polifonia impressa existentes na Biblioteca Geral da Universidade de Coimbra: uma homenagem ao musicólogo pioneiro Manuel Joaquim Autor(es): Abreu, José; Estudante, Paulo Publicado por: Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/41387 DOI: DOI:https://doi.org/10.14195/2183-8925_32_3 Accessed : 23-Sep-2021 16:01:33 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt Revista de Historia das Ideias José Abreu * Vol. 32 (2011) Paulo Estudante A PROPÓSITO DOS LIVROS DE POLIFONIA IMPRESSA EXISTENTES NA BIBLIOTECA GERAL DA UNIVERSIDADE DE COIMBRA Uma homenagem ao musicólogo pioneiro Manuel Joaquim* (1) O património musical português poderá muito bem ser uma das principais riquezas culturais do país. -
Remembrance Cecilia
Remembrance Douai Abbey Woolhampton Saturday 5th November, 2016 7:30pm The Cecilia Consort The Cecilia Consort Musical Director: Janet Coxwell Remembrance “At this time of year our thoughts are drawn towards those who have given their lives in conflict all over the world. But in this time of Remembrance we also think of those we have lost and whose lives we celebrate. Some of our programme may be familiar to you, but we have included some lesser known works such as the Judith Bingham, a new work written for the interment of Richard III in Leicester Cathedral. We enjoyed singing it so much in a previous concert, I wanted to perform it once more in a more reverberant acoustic. I am sure the work in the second half of the programme will be unknown to you all as we celebrate the 450th anniversary of the birth of Manuel Cardoso by singing his wonderful and thought- provoking Requiem. I look forward to hearing it in the glorious acoustics of Douai Abbey and hope you enjoy this programme designed to aid quiet contemplation whilst you sit and reflect in this wonderful building” Janet Coxwell Janet Coxwell – Musical Director Since graduating from the Guildhall School of Music and Drama, Janet has worked professionally as both a solo artist and consort singer. Whilst specializing in early music and performing with many of the UK’s leading ensembles, her versatility has led to her performing and enjoying all genres. Janet has long worked closely with Norfolk-based composer Patrick Hawes. Their first album, Blue in Blue, featured Janet’s “voice like melting honey on freshly buttered toast” (Radio 3), released to considerable critical acclaim. -
Music of the New Lusitania: the Impact of Humanist Thought on Polyphony in Sixteenth-Century Portugal
ABSTRACT Title of Thesis: MUSIC OF THE NEW LUSITANIA: THE IMPACT OF HUMANIST THOUGHT ON POLYPHONY IN SIXTEENTH-CENTURY PORTUGAL Victor Amaro Vicente, Master of Arts, 2006 Thesis Directed By: Professor Richard Wexler School of Music, University of Maryland Cosmopolitan, politically influential, and wealthy, Portugal experienced its “Golden Age” in the sixteenth century. Though science and the arts reached their apogee during this era, polyphonic music in Portugal does not seem to have flourished to any great extent before the seventeenth century. The few extant examples of secular court polyphony, in particular, demonstrate a predominantly homorhythmic style possibly cultivated by amateur composers. This aesthetic favoring simpler musical textures likely developed from the humanist notion that music must serve the text. Italian humanism, in fact, had a profound impact on Renaissance Portugal, which claimed its ancient Roman name, Lusitania. In literature and art the influence is quite apparent, but the case for music requires a more detailed study that is sensitive to broader social factors. This study argues that the composition and performance of Renaissance Portuguese court music is best understood within the context of the Counter-Reformation and Christian humanism. MUSIC OF THE NEW LUSITANIA: THE IMPACT OF HUMANIST THOUGHT ON POLYPHONY IN SIXTEENTH-CENTURY PORTUGAL by Victor Amaro Vicente Thesis submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree Master of Arts 2006 Advisory Committee: Professor Richard Wexler, Chair Professor Robert C. Provine Professor Barbara Haggh-Huglo © Copyright by Victor Amaro Vicente 2006 ACKNOWLEDGEMENTS “Muito obrigado” is meager recompense for the great many people who have helped me at every stage of this project, but my gratitude is heartfelt. -
Portuguese Renaissance Musicians in Foreign Encyclopedias
Portuguese Renaissance Musicians in Foreign Encyclopedias F ROM JOHANN GoTTFRIED WALTHER's Musikalisches lexicon oder Musikalische Bibliothec (Leipzig: Wolffgang Deer, 1732) 10 Die Musik in Geschichte und Gegen wart (Kassel: Barenrei!er, 1949-1979; 16 vols.), German lexicography has !reated Porluguese music and musicians betler lhan have dictionaries in French, English, ltalian, or Spanish. Wallher's longest ar1icle on a Renaissance Portuguese gave Da miao de Goes more space than he allotted Josquin des Prez. Frei Manuel Cardoso and Duarte Lobo enter Walther. However, Pedro do Porto, Vicente Lusitano, Filipe Magalhiies, Gonr;alo Ml!ndes Saldanha, António Pinheiro, Manuel Tavares, and a profusion of later Portuguese composers and theorists awaited Ernst Ludwig Ger ber's Neu es historisch-biographisches lexikon der Tonkünstler ( 1812-1814) for their first biographical profiling in a foreign language dictionary. Johann Nicolaus Forkel's Allgemeine litteratur der Musik published at Leipzig in 1792 gave Gerber the clues that he needed for source material. Forkel not only cited the editions of Vicente Lusitano's landmark treatise published at Rome in 1553 and at Venice in 1558 and 1561 but also listed treatises by Pedro Thalesio, António Fer nandes, Joao IV, and Joao Álvares Frovo, that cast light on prior developments. Above ali, Forkel called aueniion to the crucial importance of Diogo Barbosa Ma chado's Bibliotheca lusitana to any investigator of Portuguese music history. The first foreign language encyclopedia to publish a long general article on the history of Portuguese music was Hermann Mendel's Musikalisches Conversat1ons lexikon ... Vollendet von Dr. August Reissmann (Leipzig: List & Francke, 1883-4). -
El Manuscrito De La Biblioteca Pública De Évora, Cód
ANUARIO MUSICAL, N.º 66 enero-diciembre 2011, 137-158 ISSN: 0211-3538 MANUSCRIPT ÉVORA, BIBLIOTECA PÚBLICA, CÓD. CLI/1-3: ITS ORIGIN AND CONTENTS, AND THE STEMMATA OF LATE-SIXTEENTH- AND EARLY-SEVENTEENTH- CENTURY PORTUGUESE SOURCES* EL MANUSCRITO DE LA BIBLIOTECA PÚBLICA DE ÉVORA, CÓD. CLI/1-3: SU ORIGEN Y CONTENIDO, Y LOS “STEMMATA” DE LAS FUENTES PORTUGUESAS DE LOS SIGLOS XVI TARDÍO Y XVII TEMPRANO João Pedro d’Alvarenga CESEM (Portugal) Abstract: Manuscript Évora, Biblioteca Pública, Cód. CLI/1-3 is a small volume made up of two originally independent manuscripts datable respectively to c.1615 and c.1575, which were bound together sometime in the seventeenth century. The second part of the volume contains what is possibly the oldest, most persistent and widely-circulated of Holy Week series of responsories in extant late-sixteenth- and seventeenth-century Portuguese sources of polyphony. The fi rst part is dominated by the works of Manuel Mendes, a composer whose considerable reputation rested especially on his abilities as a teacher, but whose works are among the most widespread pieces in Portuguese and American colonial manuscripts in the years around 1600. In this paper I will determine the origin of Évora Cód. CLI/1-3 by following the steps of Mendes’s career, and establish the relationship between this source and several other important manuscripts as to the transmission of two exemplary pieces through the study of variant readings and the rates of agreement of the sources in the points of variation, proposing a general stemmata for pieces in late-sixteenth and early- seventeenth-century Portuguese sources of polyphony. -
Polifonistas Portugueses
Biblioteca Breve SÉRIE MÚSICA POLIFONISTAS PORTUGUESES COMISSÃO CONSULTIVA FERNANDO NAMORA Escritor JOÃO DE FREITAS BRANCO Historiador e crítico musical JOSÉ-AUGUSTO FRANÇA Prof. da Universidade Nova de Lisboa JOSÉ BLANC DE PORTUGAL Escritor e Cientista HUMBERTO BAQUERO MORENO Prof. da Universidade do Porto JUSTINO MENDES DE ALMEIDA Doutor em Filologia Clássica pela Univ. de Lisboa DIRECTOR DA PUBLICAÇÃO ÁLVARO SALEMA JOSÉ AUGUSTO ALEGRIA POLIFONISTAS PORTUGUESES • Duarte Lobo • Filipe de Magalhães • Francisco Martins MINISTÉRIO DA EDUCAÇÃO Título Polifonistas Portugueses ___________________________________________ Biblioteca Breve /Volume 86 ___________________________________________ 1.ª edição ― 1984 ___________________________________________ Instituto de Cultura e Língua Portuguesa Ministério da Educação e Cultura ___________________________________________ © Instituto de Cultura e Língua Portuguesa Divisão de Publicações Praça do Príncipe Real, 14-1.º, 1200 Lisboa Direitos de tradução, reprodução e adaptação, reservados para todos os países __________________________________________ Tiragem 5000 exemplares ___________________________________________ Coordenação Geral A. Beja Madeira ___________________________________________ Orientação Gráfica Luís Correia ___________________________________________ Distribuição Comercial Livraria Bertrand, SARL Apartado 37, Amadora ― Portugal __________________________________________ Composição e impressão Oficinas Gráficas da Minerva do Comércio de Veiga & Antunes, Lda. Trav. da Oliveira à Estrela,