Basilica Schola Cantorum Music List: 2020-2021 Ordinary Time 8/31
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A Renaissance Christmas St Martin's Voices Andrew Earis Director Available Until 16Th January 2021
A Renaissance Christmas St Martin's Voices Andrew Earis Director Available until 16th January 2021 St Martin-in-the-Fields, Trafalgar Square London WC2N 4JJ www.smitf.org PROGRAMME ADVENT Vigilate – William Byrd (1543-1623) Canite tuba – Francisco Guerrero (1528-1599) NATIVITY Videte miraculum – Thomas Tallis (1505-1595) Ave Maria à 8 – Tomás Luis de Victoria (1548-1611) Angelus ad pastores ait – Raffaella Aleotti (c.1570-c.1646) Quem vidistis, pastores? – Richard Dering (1580-1630) O magnum mysterium – Victoria Videntes stellam magi – Orlando di Lasso (1532-1594) CHRISTMAS MORNING Verbum caro factum est à 6 – Hans Leo Hassler (1564-1612) Nesciens mater – Jean Mouton (1459-1522) O beatum et sacrosanctum diem – Peter Philips (1561-1628) Resonet in laudibus – Johannes Eccard (1553-1611) Puer natus est nobis – Byrd Hodie Christus natus est – Jan Pieterszoon Sweelinck (1562-1621) PROGRAMME NOTES by Charlotte Marino Vigilate William Byrd Byrd was an English composer of the Renaissance period and is widely considered to be one of the greatest British composers of all times. His Vigilate takes inspiration from the Italian madrigal traditions, resulting in colouring that is vivid, detailed and full of lulling suspensions. This piece is a beautiful example of Byrd’s compositional individuality and astonishingly consistent level of inspiration. Canite tuba Francisco Guerrero Francisco Guerrero was a Spanish Catholic priest and talented young composer of the Renaissance period. At age 17, Guerrero was appointed Maestro de Capilla at Jaen Cathedral, and a few years later he accepted a prestigious position in Seville. He established an exceptional reputation as a singer and composer even before his thirtieth birthday, with his music known for its powerful range of moods, from joy to despair, longing, elation and devotional stillness. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
Chanticleer Christmas 2018 Reader
A Chanticleer Christmas WHEN: VENUE: WEDNESDAY, MEMORIAL CHURCH DECEMBER 12, 2018 7∶30 PM Photo by Lisa Kohler Program A CHANTICLEER CHRISTMAS Cortez Mitchell, Gerrod Pagenkopf*, Kory Reid Alan Reinhardt, Logan Shields, Adam Ward, countertenor Brian Hinman*, Matthew Mazzola, Andrew Van Allsburg, tenor Andy Berry*, Zachary Burgess, Matthew Knickman, baritone and bass William Fred Scott, Music Director I. Corde natus ex parentis Plainsong Surge, illuminare Jerusalem Francesco Corteccia (1502–1571) Surge, illuminare Jerusalem Giovanni Pierluigi da Palestrina (1525–1594) II. Angelus ad pastores ait Jan Pieterszoon Sweelinck (1562–1621) Quem vidistis, pastores dicite Francis Poulenc (1899–1963) Quem vidistis, pastores? Orlando di Lasso (1532–1594) D’où viens-tu, bergère? Trad. Canadian, arr. Mark Sirett Bring a Torch, Jeanette, Isabella Trad. French, arr. Alice Parker and Robert Shaw III. Nesciens mater Jean Mouton (1459–1522) O Maria super foeminas Orazio Vecchi (1550–1605) Ave regina coelorum Jacob Regnart (1540–1599) IV. Here, mid the Ass and Oxen Mild Trad. French, arr. Parker/Shaw O magnum mysterium+ Tomás Luis de Victoria (1548–1611) Behold, a Simple, Tender Babe Peter Bloesch (b. 1963) World Premier performances V. Hacia Belén va un borrico Trad. Spanish, arr. Parker/Shaw Staffan var en stalledräng Jaakko Mäntyjärvi (b. 1963) Commissioned in 2016 by Gayle and Timothy Ober, Allegro Fund of The Saint Paul Foundation, in honor of their 35th wedding anniversary. Chanticleer Trad. English, arr. Philip Wilder ¡Llega la Navidad! Ramón Díaz (1901–1976), arr. Juan Tony Guzmán —INTERMISSION— 2 VI. Ave Maria+ Franz Biebl (1906–2001) Bogoróditse Dyévo, ráduisya Sergei Rachmaninoff (1873–1943) VII. A selection of popular carols to be chosen from… Up! Good Christen Folk Trad. -
Abstracts, Rocky Mountain Chapter of the American Musicological Society Rocky Mountain Music Scholars Conference University of Texas at El Paso, March 1-2, 2019
1 Abstracts, Rocky Mountain Chapter of the American Musicological Society Rocky Mountain Music Scholars Conference University of Texas at El Paso, March 1-2, 2019 Mahler, Bernstein, and Jewish Identity, Matthew Mugmon (University of Arizona) .............................. 3 Stephen Heller Composes Jean Paul: The Blumen-, Frucht-, und Dornenstücke, Op. 82., Nicholas Alexander (University of Northern Colorado) .............................................................................................. 3 Hidden Affectation in Liszt’s Prometheus, Neal Warner (University of Arizona) .................................. 3 Musicology in Exile: Adolfo Salazar and Mexican Hegemony, Adam Heyen (Arizona State University) ........................................................................................................................................................... 4 Blurring the Border: Chávez, Copland, and Pan Americanism, Candice Sierra (University of Arizona) ............................................................................................................................................................... 4 Shaping the Modern American Guitar Landscape: Vahdah Olcott-Bickford and the American Guitar Society, Kathy Acosta Zavala (University of Arizona) ................................................................................. 5 Johnnie Ray: 'The Father of Rock and Roll'? How and Why History Gets Written, Michael Broyles (Florida State University) ................................................................................................................................. -
Une Jeune Pucelle 3’43 Se Chante Sur « Une Jeune Fillette »
menu tracklist texte en français text in english textes chantés / lyrics AU SAINCT NAU 1 Procession Conditor alme syderum 2’40 2 Procession Conditor le jour de Noel 1’20 Se chante sur « Conditor alme syderum » 3 Eustache Du Caurroy Fantaisie n°4 sur Conditor alme syderum 1’48 (Orgue seul) 4 Jean Mouton - Noe noe psallite noe 3’21 5 Jacques Arcadelt - Missa Noe noe, Kyrie 8’06 Alterné avec le Kyrie « le jour de noël », qui se chante sur Kyrie fons bonitatis 6 Clément Janequin - Il estoyt une fillette 3’01 Se chante sur « Il estoit une fillette » 7 Anonyme/Christianus de Hollande Plaisir n’ay plus que vivre en desconfort 4’03 Se chante sur « Plaisir n’ay plus » 8 Claudin de Sermizy Dison Nau à pleine teste 3’27 Se chante sur « Il est jour, dist l’alouette » 9 Claudin de Sermizy - Au bois de deuil 3’49 Se chante sur « Au joly boys » 10 Eustache Du Caurroy Fantaisie n°31 sur Une jeune fillette 1’48 (Orgue seul) 3 11 Loyset Pieton O beata infantia 8’20 12 Eustache Du Caurroy Fantaisie n°30 sur Une jeune fillette 1’37 (Orgue seul) 13 Eustache Du Caurroy Une jeune pucelle 3’43 Se chante sur « Une jeune fillette » 14 Guillaume Costeley - Allons gay bergiere 1’37 15 Claudin de Sermizy L’on sonne une cloche 3’35 Se chante sur « Harri bourriquet » 16 Anonyme - O gras tondus 1’42 17 Claudin de Sermizy Vous perdez temps heretiques infames 2’16 Se chante sur « Vous perdez temps de me dire mal d’elle » 18 Claude Goudimel Esprit divins, chantons dans la nuit sainte 2’16 Se chante sur « Estans assis aux rives aquatiques » (Ps. -
Stile Antico Josquin
Boston Early Music Festival in partnership with The Morgan Library & Museum present Stile Antico Josquin: Father of the Renaissance Ave Maria…virgo serena Josquin des Prez (ca. 1450–1521) Kyrie from Missa Pange lingua Josquin Vivrai je tousjours Josquin El grillo Josquin Inviolata, integra et casta es Maria Josquin Gloria from Missa Pange lingua Josquin Mille regretz Josquin Salve regina a5 Josquin O mors inevitabilis Hieronymus Vinders (fl. ca. 1525) Agnus Dei I and III from Missa Pange lingua Josquin Dum vastos Adriae fluctus Jacquet de Mantua (1483–1559) Friday, February 26, 2021 at 8pm Livestream broadcast Filmed concert from All Saints Church, West Dulwich, London, England BEMF.org Stile Antico Helen Ashby, Kate Ashby, Rebecca Hickey, soprano Emma Ashby, Cara Curran, Eleanor Harries, alto Andrew Griffiths, Jonathan Hanley, Benedict Hymas, tenor James Arthur, Will Dawes, Nathan Harrison, bass This concert is organized with the cooperation of Knudsen Productions, LLC, exclusive North American artist representative of Stile Antico. Stile Antico records for Decca. PROGRAM NOTES Our program tonight is devoted to the wonderful music of Josquin des Prez, marking 500 years since his death in 1521. Josquin was unquestionably a star in his own time: no lesser figure than Martin Luther praised him as “the master of the notes,” while for the theorist Glarean, “no one has more effectively expressed the passions of the soul in music…his talent is beyond description.” So what is it about Josquin that exerted such a spell on the generations that followed—and which still speaks so eloquently to us today? Much about Josquin’s biography and career remains shadowy: it isn’t always possible to pin down where he was working, and—with a few exceptions—the chronology of his works can only be attempted on stylistic grounds. -
Music As Holy Preaching
THE PARISH OF ST. VINCENT FERRER AND ST. CATHERINE OF SIENA MUSIC AS HOLY PREACHING MUSIC LIST of the SCHOLA CANTORUM SPRING 2021 Te Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist INTRODUCTION TO MUSIC IN THE PARISH Welcome to the Parish of St. Vincent Ferrer and St. Catherine of Siena in the Roman Catholic Archdiocese of New York, served by the Dominican Friars of the Province of St. Joseph. Te Solemn Mass is at the heart of the Parish’s liturgical and musical life and is the richest expression of the Church’s Holy Sacrifce. As such, it is celebrated with full ceremonial on Sundays at 12 Noon at St. Vincent Ferrer, on major feast days, and to mark important occasions in the community. Te Schola Cantorum, the Parish’s professional choir, sings for every Solemn Mass. Schola Cantorum is the ofcial term used by the Catholic Church to denote a liturgical choir and means ‘school of singing.’ Te Schola chants the Propers of the Mass—the Entrance, Ofertory, and Communion Antiphons, the Responsorium (the Dominican version of the ‘Gradual’), and the Alleluia––according to the Dominican Graduale, the chant book particular to the Order of Preachers. Ofertory and Communion motets follow their respective Antiphons, and in privileged seasons and on feastdays a choral Mass Ordinary is ofered. Tis broad range of repertoire surveys the very best in our treasured Catholic musical patrimony. Te celebrant’s orations, Credo, Preface, and Pater noster are also sung at the Solemn Mass. Five Sung Masses with a cantor are ofered in the Parish each weekend: at 6 PM on Saturday and at 9:30 AM and 6 PM on Sunday at St. -
Reception of Josquin's Missa Pange
THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic -
Shadows & Light Prague 1585
direction Lucien Kandel Shadows & Light Prague 1585 Jacob Handl (1550-1591) Shadows & Light Jacob Handl Prague at the dawn of the Baroque era Musica Nova Ensemble artistic direction : Lucien Kandel Christel Boiron, Esther Labourdette, Cantus Prague at the dawn of the Jacob Handl, known as ‘‘Gallus’’ Lucien Kandel, Josquin Gest, Contratenors Baroque era (1550-1591) Jérémie Couleau, Thierry Péteau, Tenors Marc Busnel, Guillaume Olry, Bassus Prague at the end of the 16th century is a city of Of Slovenian origins, Jacob Handl pursued a musical remarkable cultural effervescence, to which its career that set him apart amongst the composers of his architecture stands as first witness. In 1583 thetime. Educated far from big cities or princely chapels, Emperor Rudolph II sets it to be the seat of the HolyGallus seems to have acquired his art as a self-taught Roman Empire of the German Nation. The Imperialmusician, while living in monasteries such as Melk in Specialized in the interpretation of Renaissance handwritten or printed works, Musica Nova transfer implied a proliferation of building and Austria or the Moravian monastery of Zábrdovice, near explores incredible pieces of early music, through collaboration with recognized musicologists. renovation initiatives giving a new image to the capitalBrno. His familiarity with liturgical chant became very For the past several years, Musica Nova has been studying the music of Jacob Handl known of Bohemia. From the fortress city profoundly marked apparent in his work, and especially in his preference by Gothic urban architecture gradually emerged as ‘‘Gallus’’, with the help of Marc Desmet, musicologist and world-renowned expert in the for antiphon musical compositions, where two choirs palaces, residences and sanctuaries which combined oeuvre of this composer (biography in appendix). -
Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)*
Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)* Marta HULKOVÁ Comenius University, Faculty of Arts, Bratislava Gondova 2, SK-81499 Bratislava, Slovakia E-mail: [email protected] (Received: September 2014; accepted: December 2014) Abstract: Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely. Keywords: organ tablature books, Leutschau/Lőcse/Levoča Music Collection, Plotz, Šimbracký, Marckfelner Introduction Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely Studia Musicologica 56/1, 2015, pp. -
The Articulation of Cultural Identity Through Psalm Motets, Augsburg 1540–1585
THE ARTICULATION OF CULTURAL IDENTITY THROUGH PSALM MOTETS, AUGSBURG 1540–1585 Megan K. Eagen A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Anne MacNeil Tim Carter John Nádas David Crook Ruth von Bernuth © 2016 Megan K. Eagen ALL RIGHTS RESERVED ii ABSTRACT Megan K. Eagen: The Articulation of Cultural Identity through Psalm Motets, Augsburg 1540–1585 (Under the direction of Anne MacNeil) In this dissertation, I analyze the social and religious climate in Augsburg from 1540–1585 through the lens of psalm motets. The period between the initial shockwave of the Reformation and the sociocultural upheavals that ultimately produced the Thirty Years War may be characterized as one of intense negotiations regarding religious freedoms. The environment encouraged and even necessitated the development of materials oriented toward specific confessional groups. At the same time, residents of biconfessional cities such as Augsburg needed to find subtle or nonconfrontative ways to express their views. Despite both nascent and deep-seated differences, Catholics and Protestants of diverse sects all used the Psalter. This study interprets selections and centonizations of musically set psalm texts as indicators of multireligious communal identities. Source materials consulted for this project include over one hundred prints and manuscripts of motets held at the Augsburg State and City Library and at the Bavarian State Library in Munich. The makeup of this repertory is defined by Augsburg’s close connection to the Habsburg dynasty: composers represented in these volumes were active almost exclusively within the bounds of the Holy Roman Empire, and many composed for imperial courts. -
And Elbląg of the Renaissance Era
The Beginnings of Musical Italianità in Gdańsk and Elbląg of the Renaissance Era AGNIESZKA LESZCZYŃSKA University of Warsaw Institute of Musicology The Beginnings of Musical Italianità in Gdańsk and Elbląg of the Renaissance Era Musicology Today • Vol. 10 • 2013 DOI: 10.2478/muso-2014-0001 In the second half of the sixteenth century almost the with the Italian language and culture. A sizeable group of whole of Europe was gradually engulfed by the fashion for settlers from the Apennine Peninsula had lived in Cracow Italian music. The madrigal became the favourite genre, from the beginning of the century, and that community which entered the repertory in different countries both in expanded significantly in 1518, after the arrival in Poland its original version and as contrafactum, intabulation or of Bona Sforza, the newly wedded wife of King Sigismund as the basis for missa parodia1. The madrigal and related I.4 Those brought to Poland by Bona included musicians: genres, such as canzona alla villanesca, also became the Alessandro Pesenti from Verona, who had previously subject of imitations, often composed by musicians who served as organist at the court of Cardinal Ippolito d’Este, had no links to Italy at all. Other genres employed by and who was active at Bona’s Cracovian court during the Italian composers, above all masses and motets, were also years 1521-1550, and Lodovico Pocenin, a cantor from of great interest to musicians throughout the continent. Modena, whose name appears in the records in 15275. It Undoubtedly it was the activity of the numerous is not impossible that Pesenti, as an organist, was in some Italian, mainly Venetian, printing houses which played way and to some degree responsible for the fact that the a decisive role in promoting these works; in terms of two Polish sources of keyboard music created ca 1548 titles produced, they held the leading position in Europe2.