Chronology the Early Baroque Era
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Student Recital
Student Recital Room 106 Schaefer Fine Arts Center Gustavus Adolphus College Saturday, July 21st, 2007 9:00:AM Program » Quintet Op. 77 in G Major Antonin Dvorak (1841-1904) Angela Xie, violin Julia Johnson, violin Elizabeth Johnson, violin Bjorn Hovland, cello Matt Minteer, bass Bourrie 1 from Suite 43 inC Major Johann Sebastian Bach (1685-1750) John Sholund, bass guitar . Preguntale a Las Estrellas Latin American Folk Song Arr, Edward Kilenyi Christine Hoffman, mezzo-soprano Galina Zisk, piano Intorno all’idol mio Marco Antonio Cesti z (1623-1669) Christine Mennicke, soprano Galina Zisk, piano a a i a We ask that all members of the audience refrain from photographing or recording the performance. Please be sure that a all cell phones, beepers, alarms, and similar devices are turned off. cm A high-fidelity recording of this performance may be ordered. A @ brochure will be available following the performance. = You are invited to attend the next events of a The 2007 Lutheran Summer Music Festival: = Student Recitals a Christ Chapel & Room 214, and Room 106 Schaefer Fine Arts Center = Gustavus Adolphus College = Saturday, July 21st, 2007 10:30 AM, 12:00 PM, and 2:30 PM | al Jazz Ensemble Concert Bjérling Recital Hall «a Schaefer Fine Arts Center e Gustavus Adolphus College Saturday, July 21st, 2007 ea 1:00 PM e Festival Orchestra Concert e Christ Chapel a Gustavus Adolphus College Saturday, July 21st, 2007 e 7:00 PM = e This concert is the thirty-eighth event of = Lutheran Summer Music Festival 2007 = = «a «= ee se «= LUTHERAN. UMIME Ro ~~__ACADEMY & FESTIVAL Collegium Musicum S. -
Pieter-Jan Belder the Fitzwilliam Virginal Book
95308 Fitzwilliam VB vol5 2CD_BL1_. 30/09/2016 11:06 Page 1 95308 The Fitzwilliam Virginal Book Volume 5 Munday · Richardson · Tallis Morley · Tomkins · Hooper Pieter-Jan Belder The Fitzwilliam Virginal Book Volume 5 Compact Disc 1 65’42 Compact Disc 2 58’02 John Munday 1555–1630 Anonymous Thomas Morley 1557 –1602 Anonymous & 1 Munday’s Joy 1’26 18 Alman XX 1’58 1 Alman CLII 1’33 Edmund Hooper 1553 –1621 2 Fantasia III, ( fair weather… ) 3’34 19 Praeludium XXII 0’54 2 Pavan CLXIX 5’48 12 Pakington’s Pownde CLXXVIII 2’14 3 Fantasia II 3’36 3 Galliard CLXX 3’00 13 The Irishe Dumpe CLXXIX 1’24 4 Goe from my window (Morley) 4’46 Thomas Tallis c.1505 –1585 4 Nancie XII 4’41 14 The King’s Morisco CCXLVII 1’07 5 Robin 2’08 20 Felix namque I, CIX 9’08 5 Pavan CLIII 5’47 15 A Toye CCLXIII 0’59 6 Galiard CLIV 2’28 16 Dalling Alman CCLXXXVIII 1’16 Ferdinando Richardson 1558 –1618 Anonymous 7 Morley Fantasia CXXIV 5’37 17 Watkins Ale CLXXX 0’57 6 Pavana IV 2’44 21 Praeludium ‘El. Kiderminster’ XXIII 1’09 8 La Volta (set by Byrd) CLIX 1’23 18 Coranto CCXXI 1’18 7 Variatio V 2’47 19 Alman (Hooper) CCXXII 1’13 8 Galiarda VI 1’43 Thomas Tallis Thomas Tomkins 1572 –1656 20 Corrãto CCXXIII 0’55 9 Variatio VII 1’58 22 Felix Namque II, CX 10’16 9 Worster Braules CCVII 1’25 21 Corranto CCXXIV 0’36 10 Pavana CXXIII 6’53 22 Corrãto CCXXV 1’15 Anonymous Anonymous 11 The Hunting Galliard CXXXII 1’59 23 Corrãto CCXXVI 1’08 10 Muscadin XIX 0’41 23 Can shee (excuse) CLXXXVIII 1’48 24 Alman CCXXVII 1’41 11 Pavana M.S. -
Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources). -
Breathtaking-Program-Notes
PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice. -
The Story of the Nation's
' THE STO RY O F TH E NATIO NS. r c mum 800 Cla/h [Hm/mud 68. La g C , , , ' 73: Volume: are aimbe}! in [I nfol/mmng Special B indings ' al Pfru an ( Io/lo ill to F u m 110 exlra ” l , g p ll y, 1/ , r 0 d s Tree ( al ill d s o d ol ma /1a! e ge f. g e ge , g l r l imidc u ilt MM . , f ll g x P G NI IA. l w 8. H O f. B O 8 01112 . Anrnuu G u u G . 1 . By , By Pro R W LINSO N. MA . A m “W S. B f. K. 1 . MEDI A. ZBNMDB . 9 . y Pro J 9 By A R GO ZIN. Ma nn . A exa m . Rev . S. 2 0. TH E H ANSA T WNS. 3. B O By — i “A . H B LB N Z IMNERN. B agu o 000m . f. A un t) n EARL Y R T . By Pro . B I AIN By Prof R A LF ED J . CH URCH . TH E R Y . as. BAR BA COR SAIR S STA NLEY N - O O By LA E P LE. U 2 . R SS . W . By 3 IA By R . MO R y Prot mws UNDER TH E W . Do u R OM ANS. By vc xs Amm Mo nmso n. Prof. C T ND . O H N M AC 2 5 . S O LA By J xmro su LL D. an a n o ue. -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
825646166411.Pdf
FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr. -
Sun King Program Notes
FRIDAY, NOVEMBER 20 PROGRAM 7:30 PM Jean-Baptiste Lully Suite from Armide 7:00 PM: PRE-CONCERT LECTURE BY PROFESSOR Jean-Philippe Rameau In convertendo Dominus JOHN POWELL (UNIV. OF TULSA) wfihe^=e^ii=L= INTERMISSION Hobby Center For The Performing Arts= Marc-Antoine Charpentier Les arts florissants SPECIAL GUESTS: Catherine Turocey, Artistic Director PROGRAM NOTES The New York Barque Dance Company Armide was the last tragédie en musique on which Jean-Baptiste Lully collaborated with his Dancers: Carly Fox Horton, favorite librettist, Philippe Quinault. It premiered at the Paris Opéra on February 15, 1686. Quinault retired from the stage after Armide, and Lully died the following year. From its first Brynt Beitman, Alexis Silver, and Andrew Trego performance, Armide was recognized as their masterpiece. The subject matter was of the King’s choosing: Louis XIV selected the story in May of 1685 CAST: Megan Stapleton, soprano from among several offered by Quinault. Armide is based on an episode of Gerusalemme Julia Fox, soprano liberata, a popular epic poem by the 16th-century Italian poet Torquato Tasso. It uses the story Cecy Duarte, mezzo-soprano of the capture of Jerusalem by Christians during the First Crusade (1096-99) as the starting Sonja Bruzauskas, mezzo-soprano point for a fabulous extravaganza of heroism, villainy, war, star-crossed lovers, sorcery, bad Tony Boutté, tenor temper, warrior maidens, and eventual total victory by the forces of good. The episode on Eduardo Tercero, tenor which Armide is based tells the story of Armida, a sorceress who falls in love with the Mark Diamond, baritone Crusader Rinaldo, her sworn enemy. -
Introduction: a Rich and Complex Heritage
Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information part i Introduction: a rich and complex heritage © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information 1 Images and principles Images of Otherness This book tells two intertwined stories that have long needed to be told. It tells how Western music, during the years 1500–1800, reflected, reinforced, and sometimes challenged prevailing conceptions of unfamiliar lands – various Elsewheres – and their peoples. And it also tells how ideas about those locales and peoples contributed to the range and scope of musical works and musical life in the West (that is, in Europe and – to a lesser extent – its overseas colonies). For the most part, the book explores the ways in which those places and peoples were reflected in what we today consider musical works, ranging from operas and dramatic oratorios to foreign-derived instrumental dances such as a sarabande for lute or guitar. But it also explores other cultural products that – though not “musical works”–included a significant musical component: products as different as elaborate courtly ballets and cheaply printed -
Matrimony and Monarchy: the Failure of Bourbon-Habsburg Matrimonial Alliance
Matrimony and Monarchy: The Failure of Bourbon-Habsburg Matrimonial Alliance Dr Samra Sarfraz Khan* Irum Iqbal Hussain** Abstract The research paper titled “Matrimony and Monarchy: The Failure of Bourbon-Habsburg Matrimonial Alliance,” is an in depth study of the matrimonial alliance between the Bourbon and Habsburg dynasties through the marriage of Louis XIV; the King of France, with the Spanish hieress Maria Theresa. This matrimonial alliance, which was arranged to start a new era of Franco-Spanish relations in the seventeenth century, was one of the many similar examples that had been followed in state craft from the earliest times. The paper serves a two-fold purpose: to bring to light the unsuccessful nature of this marriage, and to probe the various reasons for which the alliance was a failure in the very quintessence of a marriage. The paper highlights the factors that contributed in not only keeping the matrimonial alliance into a contentious relationship between Maria Theresa and Louis XIV but also in causing a decline in the political ties between the French and Spanish kingdoms. The research paper, thus, caters to an aspect in the study of matrimonial alliances that remains largely unexplored. Keywords: Matrimonial alliance, Bourbon, Hapsburg, monarch, expansion. * Samra Sarfraz Khan, Ph.D. Assistant Professor, Department of History, University of Karachi ** Irum Iqbal Hussain, Graduate Student, Institute of Ismaili Studies (IIS), UK 15 Jhss, Vol. 10, No. 2, July to December, 2019 Introduction The matrimonial alliance of Louis XIV and Maria Theresa was one in a series of similar state alliances that took place between the Bourbon and Habsburg royal families in their days of glory days. -
Discipline in Polish-Lithuanian Cavalry Units During Battles in the Early Modern Period1
Open Military Studies 2020; 1: 44–61 Karol Łopatecki* Discipline in Polish-Lithuanian cavalry units during battles in the early modern period1 https://10.1515/openms-2020-0104 Received Jul 13, 2020; accepted Sep 08, 2020 Abstract: Keywords: articles of war, military discipline, organization of cavalry, tactics in the 16th-18th c., desertion, old-Polish art of war The Polish and Lithuanian military in the modern period developed in a different direction from most European areas. First and foremost, it is emphasized that we did not deal with military revolution (it would be better to use the term “evolution”), which did not bring about the origins of a modern military-fiscal state on the territory of the Commonwealth2. This issue certainly requires comprehensive studies, since from at least the mid-17th century onwards, both on the military level as well as in the state organization, the Commonwealth coped well with strong enemies: the Teutonic Order (1519-1521), the Roman Empire (Austria) (1587-1588), the Kingdom of Sweden and the Tsardom of Moscow (1557- 1582, 1600-1629, 1632-1635) and the Ottoman Empire (1621, 1633-1634) 3. The research on transformations occurring in the 16th century indicate crucial changes in the military, but different from those developed in Western Europe. Among the differences it is important to name primarily the reliance on cavalry which fought with polearms and cutting weapons. Moreover, the Crown and the Grand Duchy of Lithuania lacked strongholds understood as large cities fortified with bastions4. These two elements, as well as deficiencies of the fiscal system, which were “patched” by complementing paid troops with private units, district troops and Mass Mobilization5, 1 The article was written as part of the research project of the National Centre for Science SONATA, no.