Download Program

Total Page：16

File Type：pdf, Size：1020Kb

PARTHENIA Rosamund Morley, treble viol Lawrence Lipnik, tenor viol Beverly Au, bass viol Lisa Terry, bass viol with guests: JACQUELINE HORNER-KWIATEK, mezzo-soprano PAUL HECHT, actor When Music & Sweet Poetry Agree Shakespeare, Donne and their Elizabethan musical contemporaries THIS PROGRAM WILL BE PERFORMED WITHOUT INTERMISSION Prelude and Voluntary William Byrd (c. 1539-1623) The Triple Foole John Donne (1572-1631) It was a lover and his lass Thomas Morley (c. 1557-1602) The Good Morrow Donne Fantasia a4 Alfonso Ferrabosco the younger (c. 1575-1628) Go and Catch a Falling Star Donne Galliard: The Fairy Rownd Anthony Holborne (1545-1602) Come live with me and be my love William Corkine (fl. 1610-1620) The Bait Donne Fantasy on All in a garden green John Jenkins (1592-1678) The Flea Donne A Mery Conceit: The Queenes delight Hume (c.1569-1620) [\ Can she excuse my wrongs John Dowland (1563-1626) Sonnet 91: Some glory in their birth William Shakespeare (1564-1616) Ah, dear heart, why do you rise? Orlando Gibbons (1583-1625) A Lecture Upon the Shadow Donne A Gigge: Doctor Bull’s my selfe John Bull (c. 1562-1628) Sonnet 23: As an unperfect actor on the stage Shakespeare Farewell, dear love Robert Jones (c. 1577-1617) Fantasia a4 Byrd Sonnet 104: To me, fair friend, you can never be old Shakespeare The Fair young virgin Byrd The Apparition Donne So, so, leave off this last lamenting kisse Alfonso Ferrabosco (c.1580-1628) Fantasia a4 Giovanni Coprario (c. 1570-1626) [\ The Relic Donne Harke, Harke Tobias Hume Death be not proud Donne Hugh Ashton’s Maske Hugh Ashton, attrib. (c.1485-c.1558) Sonnet 29: When in disgrace with Fortune and Shakespeare men’s eyes Now, oh now I needs must part Dowland Sonnet 71: No longer mourn for me when I am dead Shakepeare Pavan: Paradiso Holborne The Valediction: Forbidding Mourning Donne Parthenia is represented by GEMS Live! Artist Management and records for MSR Classics .

Copy Link

Recommended publications

Notes – RECORDER CONSORT VIOLS Trotto (Anon Italian 14Th Century) Is a Lively Monophonic Dance in the Form of a Rondeau
- Notes – RECORDER CONSORT VIOLS Trotto (Anon Italian 14th century) is a lively monophonic dance in the form of a rondeau. It originated around 1390.The time signature for the trotto is given as 6/8, Richard Mico (1590-1661) and John Jenkins (1592-1678) are celebrated fantasy and is infused with the triple meter swing, kind of like listening to horse riding and composers. This form is rather like an instrumental madrigal in which several points fox hunting. In Italian, trotto means to trot. of imitation are developed one after the other. Jenkins is our favourite composer, an inexhaustibly inventive melodist and a consummate contrapuntist. Like many of the English fantasy composers and like Haydn, Jenkins resided on the estates of the Virgo Rosa ( Gilles Binchois 1400-1460) provincial gentry; he preferred to be treated as a gentleman house-guest of Lord Gilles Binchois was a Franco-Flemish composer, one of the earliest members of the Dudley North (an amateur treble viol player) rather than an employee. Burgundian School, and one of the three most famous composers of the early 15th century. Binchois is often considered to be the finest melodist of the 15th century, Clive Lane is a Sydney based composer, with published works for viols and writing carefully shaped lines which are easy to sing, and utterly memorable. Most of recorders. He is also an accomplished singer and viol player, and is member of our his music, even his sacred music, is simple and clear in outline. consort. Air is a composition for quartet of viols (treble/tenor/tenor/bass) in a 16 th century style, in which Clive captures the mood of a viol piece by his favourite The words of this sacred motet - composer for viols: John Jenkins.
[Show full text]
An Examination of the Seventeenth-Century English Lyra
An examination of the seventeenth-century English lyra viol and the challenges of modern editing Volume 1 of 2 Volume 1 Katie Patricia Molloy MA by Research University of York Music January 2015 Abstract This dissertation explores the lyra viol and the issues of transcribing the repertoire for the classical guitar. It explores the ambiguities surrounding the lyra viol tradition, focusing on the organology of the instrument, the multiple variant tunings required to perform the repertoire, and the repertoire specifically looking at the solo works. The second focus is on the task of transcribing this repertoire, and specifically on how one can make it user-friendly for the 21st-century performer. It looks at the issues of tablature, and the issues of standard notation, and finally explores the notational possibilities with the transcription, experimenting with the different options and testing their accessibility. Volume II is a transliteration of solo lyra viol works by Simon Ives from the source Oxford, Bodleian Library Music School MS F.575. It includes a biography of Simon Ives, a study of the manuscript in question and describes the editorial procedures that were chosen as a result of the investigations in volume I. 2 Contents Volume I Abstract 2 Acknowledgements 6 Declaration 7 Introduction 8 1. The use of the term ‘lyra viol’ 12 2. The organology of the lyra viol 23 3. The tuning of the instrument 38 4. The lyra viol repertoire with specific focus on the solo works 45 5. The transcription of tablature 64 6. Experimentation with notation
[Show full text]
A1 JOHN JENKINS Fantasias
A1 JOHN JENKINS Fantasias: Nos. 1–12 a 6. In nomines: Nos. 1–2 a 6. Pavan in F. Bell Pavan in a • Phantasm (period instruments) • LINN 556 (Download: 66=07) JOHN WARD Fantasias: Nos. 1–7 a 6; Nos. 1–12 a 5. In nomines: Nos. 1–2 a 6; a 5 • Phantasm (period instruments) • LINN 339 (Download: 77=57) I am dealing with these two releases together because neither is new and both have been reviewed previously, though one of them, the Jenkins, not in its current incarnation. So let me sort things out. First, if a record labelʼs numbering scheme means anything, one assumes that the higher the number the more recent the recording. Not so in this case. The Jenkins release, bearing the number 556, was recorded in 2005; the Ward, bearing the number 339, was recorded in 2009. The Jenkins was originally released on Avie, the label under which Brian Robins reviewed it in 30=2, so we know this is a reissue on the Linn label. The Ward was reviewed by Barry Brenesal in 334, shortly after it was released as the same Linn BKD 339 as it appears here, so it has to be assumed that this is not a transfer from another label but an original Linn recording. This no doubt eXplains the higher number for the earlier recorded Jenkins: Linn acquired the Avie recording and reissued it on its own label in 2016, seven years after the Ward. This does not eXplain, however, why we are now seeing recordings made eight and 12 years ago, and previously reviewed, turn up for review again.
[Show full text]
The Journal of the Viola Da Gamba Society
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 18 (1989) Editor: Lyn Hulse Pamela Willetts Stephen Bing; a Forgotten Violist Chelys, vol. 18 (1989), pp. 3-17 Callum McCart The Panmure Manuscripts: a New Look at an Old Source of Christopher Simpson’s Consort Music Chelys, vol 18 (1989), pp. 18-29 Michael Fleming Viol Drawings Chelys, vol. 18 (1989), pp. 30-40 Tim Crawford Constantijn Hygens and the ‘Engelsche Viool’ Chelys, vol. 18 (1989), pp. 41-60 Letters: p.61 Obituaries: p.62 Music and Book Reviews: p.66 [3] STEPHEN BING: A FORGOTTEN VIOLIST PAMELA WILLETTS Recent work by Dr Watkins Shaw has drawn attention to the considerable amount of music copied by Stephen Bing, minor canon of St Paul's Cathedral, during the 1670s.1 This consists of church music, including substantial portions of the Gostling part-books now preserved in the library of York Minster, and manuscripts copied for Westminster Abbey and St Paul's which have remained in their places of origin.
[Show full text]
The Journal of the Viola Da Gamba Society
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Contents of Volume 7 (1977) Editorial Chelys, vol. 7 (1977), p. 3 David Baker article 1 Was Christopher Simpson a Jesuit? Chelys, vol. 7 (1977), pp. 4-23 John Bennett and Pamela Willetts article 2 Richard Mico Chelys, vol. 7 (1977), pp. 24-46 Gordon Dodd article 3 Alfonso Ferrabosco II – The Art of the Fantasy Chelys, vol. 7 (1977), pp. 47-53 Andrew Ashbee The Six-Part Consort Music of John Jenkins article 4 Chelys, vol. 7 (1977), pp. 54-68 Wendy Hancock article 5 General Rules for Realising an Unfigured Bass in Seventeenth-Century England Chelys, vol. 7 (1977), pp. 69-72 [3] EDITORIAL In volume six we promised to widen the scope of Chelys to include material outside the central concern of the Society—that is, English music of the seventeenth century.
[Show full text]
Album Booklet
The Excellency of Hand English Viola da Gamba Duos Robert Smith Paolo Pandolfo S10186 E R Christopher Simpson (c. 1605-1669) John Jenkins The Excellency of Hand 1. Divisions for Two Viols in G major, VdGS 28 [6:29] 15. Divisions on a Ground in G minor, VdGS 23 [4:02] English Viola da Gamba Duos 2. Prelude No. 2 in D minor [0:18] Simon Ives 16. Ayre for Two Bass Viols No. 2 [2:46] John Jenkins (1592-1678) 3. Divisions on a Ground in D major, VdGS 21 [4:19] Robert Smith (b. 1980) 17. Prelude in A minor [0:59] Christopher Simpson Robert Smith & Paolo Pandolfo violas da gamba 4. Prelude No. 5 in A minor [1:00] Christopher Simpson 18. Division for Two Viols in A minor, VdGS 25 [3:52] John Jenkins 5. Divisions on a Ground in A minor, VdGS 19 [5:47] John Jenkins 19. Air with Divisions in C major, VdGS 12 [5:48] 6. Divisions on a Ground in C major, VdGS 13 [4:56] 20. Ayre for Bass Viols and Basso Continuo Simon Ives (1600-1662) in D minor, VdGS 32 [3:21] 7. Ayre for Two Bass Viols No. 1 [2:50] Christopher Simpson Christopher Simpson 21. Prelude No. 3 in F major [0:35] 8. Prelude No. 4 in F major [0:16] 22. Division for Two Viols in F major, VdGS 27 [5:26] 9. Division for Two Viols in F major, VdGS 26 [3:07] John Jenkins Total playing time [73:52] About Robert Smith: 10.
[Show full text]
The Journal of the Viola Da Gamba Society
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 26 (1998) Editor: Robert Thompson Bruce Bellingham Alfonso Ferrabosco II: the Art of the Fantasia Chelys, vol. 26 (1998), pp. 1-25 Derry Bertenshaw Madrigals and Madrigalian Fantasias: the Five-part Consort Music of John Coprario and Thomas Lupo Chelys, vol. 26 (1998), pp. 26-51 Virginia Brookes The Four-part Fantasias of John Ward: One Composer or Two? Chelys, vol. 26 (1998), pp. 52-68 Caroline Cunningham Variety and Unity in the Fantasias of John Coprario Chelys, vol. 26 (1998), pp. 69-77 Reviews: pp.78-80 [1] ALFONSO FERRABOSCO II: THE ART OF THE FANTASIA Bruce Bellingham I should like to pay tribute to Gordon Dodd, whose guidance and advice have been so valuable to me and many others.
[Show full text]
Thomas Morley and the Business of Music in Elizabethan England
THOMAS MORLEY AND THE BUSINESS OF MUSIC IN ELIZABETHAN ENGLAND by TERESA ANN MURRAY A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Thomas Morley’s family background in Norwich and his later life in London placed him amongst the educated, urban, middle classes. Rising literacy and improving standards of living in English cities helped to develop a society in which amateur music-making became a significant leisure activity, providing a market of consumers for printed recreational music. His visit to the Low Countries in 1591 allowed him to see at first hand a thriving music printing business. Two years later he set out to achieve an income from his own music, initially by publishing collections of light, English-texted, madrigalian vocal works. He broadened his activities by obtaining a monopoly for printed music in 1598 and then by entering into a partnership with William Barley to print music.
[Show full text]
Doctor of Philosophy June 2008 the Candidate Confirms That the Work Submitted Is His Own and That Appropriate Credit Has Been Gi
THE TRIO SONATA IN RESTORATION ENGLAND (1660-1714) MIN-JUNG RANG Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music June 2008 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from this thesis may be published without proper acknowledgement. Acknowledgements benefited from During the writing of this dissertation, I have the advice and Dr Andrew Ashbee encouragement of many people. I am grateful particularly to and information Dr Nicholas Bell of the British Library who generously supplied me with like Dr Robert on the manuscripts on which I have been working. I would also to thank Thompson who allowed me to photograph his microfilms which saved much time and effort. I have I would also like to thank staff of the various libraries I visited, where been met with unfailing help and courtesy: the British Library, London; Bodleian Library, Oxford; Christ Church Library, Oxford; the Cathedral Library, Durham; and Leeds University Library. During the course of this project I have been fortunate in receiving great from support and encouragement from my family and friends. I met warm hospitality Prof Richard Rastall's family during my staying in Leeds, especially at Christmas time. I was extremely fortunate to receive much support from my parents. Without their financial support and faithful assistance, it would have been impossible for me to finish the work.
[Show full text]
Doctor Phillip Woodrow Serna, Dmus Double Bass
• 14621 MEADOW LANE, PLAINFIELD, IL 60544-1402 • PHONE (847) 722-2093 • • [email protected] • [email protected] • [email protected]• • [email protected] • [email protected] • • WWW.VALPO.EDU/MUSIC/ABOUT/FACULTY/PHILLIP-SERNA/ • WWW.MUSICINST.ORG/DR-PHILLIP-SERNA • • PHILLIPWSERNA.COM • BLACKTULIP.ORG • BURNINGRIVERBAROQUE.ORG • • NEWCOMMABAROQUE.ORG • SPIRITOFGAMBO.ORG • VIOLSINOURSCHOOLS.ORG • VDGS3RDCOAST.ORG • • CHICAGO FEDERATION OF MUSICIANS, LOCAL 10-208 OF A.F.M. #55608 • •CURRICULUM VITAE• DOCTOR PHILLIP WOODR O W S E R N A , DMUS DOUBLE BASS, VIOLA DA GAMBA (TREBLE VIOL, TENOR VIOL & BASS VIOL), VIOLONE, BAROQUE BASS, VIELLE, BASS GUITAR & TEACHER EDUCATION Doctor of Music Degree (Performance – String Instruments) August 2007 Major Document – Lecture-Recital Original ‘Crossover?’ Popular Ballad-Tunes as Art- Music for Viols in Seventeenth-Century England Primary Double Bass Professor – Michael Hovnanian, Northwestern University School of Music, Evanston, IL Secondary Double Bass Professor – DaXun Zhang, Northwestern University School of Music, Evanston, IL Primary Viola da Gamba Professor – Mary Springfels, Northwestern University School of Music, Evanston, IL Master of Music Degree (Performance – String Instruments) June 2001 Primary Double Bass Professor – Michael Hovnanian, Northwestern University School of Music, Evanston, IL Civic Orchestra of Chicago Graduate Fellow Primary Viola da Gamba Professor – Mary Springfels, Northwestern University School of Music, Evanston, IL Bachelor of Music Degree (Performance
[Show full text]
Also by Trio Settecento on Cedille Records “The Virtuosity and Spirit
Also by Trio Settecento on Cedille Records “There isn’t a piece that doesn’t impress. This is as good a collection for a new- comer to the Baroque as it is for those who want to hear these works performed at a high level.” — Gramophone An Italian Sojourn CDR 90000 099 “The virtuosity and spirit are stunning here, going from one set of interesting musical challenges to the next, and carrying us along for the ride in a spate of emotional bliss. Enthusiastically recommended!” — Audiophile Audition A German Bouquet CDR 90000 114 “I can’t emphasize enough the solid, unwavering communicative skills shown by these musicians, which culminates in one of this year’s more enjoyable — and replayable — recordings.” — ClassicsToday.com A French Soirée CDR 90000 129 Producer James Ginsburg Engineer Bill Maylone Editing Jeanne Velonis Technical Editing Bill Maylone Trio Settecento AN ENGLISH FANCY Graphic Design Nancy Bieschke 1 WILLIAM BYRD (1539–1623) bq THOMAS BALTZAR (c. 1631–1663) Cover Painting King Charles I of England Out Hunting, c.1635 (oil on canvas), Sellinger’s Rownde (5:31) John Come Kiss Me Now (5:02) Sir Anthony van Dyck (1599–1641) / Louvre, Paris, France / Giraudon / The Bridgeman Art Library 2 TOBIAS HUME (c. 1569–1645) MATTHEW LOCKE (c. 1621–1677) Recorded August 1–5, 2011, in Nichols Concert Hall at the Music Institute of Chicago, Captaine Hume’s Lamentation (6:38) “For Several Friends,” Suite in B-flat Major (7:51) Evanston, Illinois WILLIAM LAWES (1605–1645) br Fantazie (1:15) ck Courante (1:01) Instruments Suite No.
[Show full text]
The Journal of the Viola Da Gamba Society
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982- , available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 22 (1993) Richard Charteris A rediscovered manuscript source with some previously unknown works by John Jenkins, William Lawes and Benjamin Rogers Chelys, vol. 22 (1993), pp. 3-29 François Pierre Goy Seventeenth-century viol pieces in settings for plucked strings Chelys, vol 22 (1993), pp. 30-43 Gordon Sandford Coprario’s cadence: some thoughts on Coprario’s four-part fantasia C21 Chelys, vol. 22 (1993), pp. 44-48 Reviews Chelys, vol. 22 (1993), pp. 49-65 Letters to the Editor Chelys, vol. 22 (1993), pp. 66-67 [3] A REDISCOVERED MANUSCRIPT SOURCE WITH SOME PREVIOUSLY UNKNOWN WORKS BY JOHN JENKINS, WILLIAM LAWES AND BENJAMIN ROGERS RICHARD CHARTERIS The subject of this article is a manuscript source - Hamburg, Staats- and Universitätsbibliothek, ND VI 3193 - that was lost, presumed destroyed, during the second World War.
[Show full text]