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The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
Giovanni Paolo Colonna "Psalmi Ad Vesperas" Op. 12: Introduction
GIOVANNI PAOLO COLONNA Psalmi ad Vesperas OPUS DUODECIMUM, 1694 Edited by Pyrros Bamichas May 2010 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 18 Contents INTRODUCTION ......................................................................................................................... iii The Composer ........................................................................................................................ iii The Music .............................................................................................................................. vi Liturgical Practice .................................................................................................................. xi Acknowledgments................................................................................................................. xii CRITICAL COMMENTARY ..................................................................................................... xiv The Sources .......................................................................................................................... xiv Other Sources for the Pieces of Op. 12 .............................................................................. xviii Editorial Method ................................................................................................................... xx Critical Notes ....................................................................................................................... xxi [1] Domine ad adjuvandum -
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. -
Domenico SCARLATTI (1685 -1757) Irakly AVALIANI, Piano
Domenico SCARLATTI (1685 -1757) 1. Sonata in E major, K.215 L.323 9'19 2. Sonata in G major, K.146 L.349 2'23 3. Sonata in G major, K 63 L.84 2'03 4. Sonata in C minor, K.11 L.352 3'01 5. Sonata in G minor, K.373 L.98 2'07 6. Sonata in C major, K.513 L.S-3. Pastorale. 5'50 7. Sonata in A minor, K.149 L.93 3'08 8. Sonata in D major, K.33 L.424 3'32 9. Sonata in D minor, K.5 L.367 3'40 10. Sonata in D major, K.145 L.369 3'18 11. Sonata in D minor, K.9 L.413 3'40 12. Sonata in E minor, K.394 L.275 5'58 13. Sonata in C major, K.159 L.104 1'53 14. Sonata in C minor, K.37 L.406 3'29 15. Sonata in C major, K.49 L.301 5'45 16. Sonata in C major, K.420 L.S-2 4'02 Total time: 64'14 Irakly AVALIANI, piano Studio Sequenza, Montreuil, France, July 2013 Piano Fazioli: Jean-Michel Daudon Recording, editing and mastering: Sebastien Noly (Sonogramme) Booklet: Vassili Karist Cover: Catherine Geoffray Design: Frederic Berard-Casaneuve © FDD Mecenat Groupe BALAS www.iraklyavaliani.com - www.sonogramme.fr - www.groupe-balas.com DOMENICO SCARLATTI (1685-1787) Domenico Scarlatti was born in Naples on 26 October 1685, in the same year as those two other towering figures of European music, Johann Sebastian Bach and Georg Friedrich Handel. -
The University of North Carolina at Chapel Hill Music Department
The University of North Carolina at Chapel Hill Music Department UNC Music Workshop Presents: Faculty Recital July 22, 2019 8:00 pm Moeser Auditorium ~ Program ~ Chopin Robert Schumann from Carnaval, Op. 9 (1810 - 1856) Ballade No. 2 in F Major, Op. 38 Frédéric Chopin dedicated to Robert Schumann (1810 - 1849) Frank Pittman, piano Gruss Edvard Grieg (1843 - 1907) Ideale Paolo Tosti (1846 - 1916) Bleuet Francis Poulenc (1899 - 1963) Jordan Wilson, baritone Frank Pittman, piano Se tu m’ami Giovanni Battista Pergolesi (1710 - 1736) Per la gloria d’adorarvi Giovanni Bononcini (1670 - 1747) El tra la la y el punteado Enrique Granados (1867 - 1916) El majo tímido Enrique Granados Mary Gayle Greene, mezzo-soprano Frank Pittman, piano Alleluia Cécile Chaminade (1857 - 1944) Canción de la Infanta Pauline Viardot (1821 - 1910) An April Day Florence Price (1887 - 1953) Jeanne Fischer, soprano Frank Pittman, piano Et misericordia Johann Sebastian Bach from Magnificat in D dur (1685 – 1750) Mary Gayle Greene, mezzo-soprano Daniel M. Huff, tenor Liebeslieder Walzer, Op. 52 Johannes Brahms (1833 – 1897) 1. Rede Mädchen, allzu liebes 2. Am Gesteine rauscht die Flut Neue Liebeslieder Walzer, Op. 65 15. Zum Schluß Jeanne Fischer, soprano Mary Gayle Greene, mezzo-soprano Daniel M. Huff, tenor Jordan Wilson, baritone ******************************************** A native of North Carolina, Jeanne Fischer received her BA in Music and English from UNC-Chapel Hill. She continued her studies in the United Kingdom on a British Marshall Scholarship, completing an MM and Artist’s Diploma at London’s Royal Academy of Music. She received her DMA from the University of Maryland. Her solo performances include appearances with the Smithsonian Chamber Players, The Bach Sinfonia, the Washington Bach Consort, Princeton’s Dryden Ensemble, and the University of Maryland Symphony. -
Senior Recital: Brittany Griffith, Mezzo-Soprano
Kennesaw State University School of Music Senior Recital Brittany Griffith, mezzo-soprano Brenda Brent, piano Friday, April 1, 2016 at 6:30 pm Music Building Recital Hall Ninety-fourth Concert of the 2015-16 Concert Season program I. GIOVANNI BATTISTA PERGOLESI (1710-1736) Se tu m'ami, se tu sospiri II. ALESSANDRO SCARLATTI (1659-1725) Gia il Sole dal Gange III. FRANCESCO PAOLO TOSTI (1846-1916) Sogno IV. GIOVANNI BATTISTA PERGOLESI (1710-1736) Nina intermission I. ROBERT SCHUMANN (1810-1856) Du bist Wie eine Blume II. CLAUDE DEBUSSY (1862-1918) Nuit d’étoiles (Théodore de Banville) intermission I. ROGER QUILTER (1877-1953) Weep You No More from seven Elizabethan Songs, Op.12, No.1 II. RICKY IAN GORDON (b. 1956) Will There Really Be a Morning? (Emily Dickinson) III. G. F. HANDEL (1685-1759) arr. Evelyn Simpson-Curenton He Shall Feed His Flock Like a Sheppard intermission I. RICHARD ROGERS (1902-1979) The Sweetest Sounds from No Strings II. STEPHEN FLAHERTY (b.1960) Your Daddy’s Son from Ragtime III. WILDHORN / BRICUSSE A New Life from Jekyll and Hyde IV. MEREDITH WILLSON (1902-1984) Goodnight, My Someone from The Music Man Ms. Griffith studies voice with Jana Young. program notes Se tu m'ami, se tu sospiri | Giovanni Battista Pergolesi Giovanni Battista Pergolesi was an Italian composer with perhaps one of the of the great examples of the Italian comic opera in 18th Century, the intermezzo La serva Padrona. He attended the conservatorio dei Poveri di Gesu Cristo in Naples where he also performed as a violinist. In 1732, he became maestro di cappella to Prince Ferdinando Colona Stigliano. -
BMC 7 - Alessandro SCARLATTI: Concertos & Sinfonias
BMC 7 - Alessandro SCARLATTI: Concertos & Sinfonias Sicilian-born in 1660, Alessandro Scarlatti was trained in Rome. He married in 1678 and later that year was appointed Mae stro di Cappella of San Giacomo degli Incurabili. His first large-scale oratorio-operatic works were performed there the following year when he was only 19. His patrons from the outset were of the highest rank, among them the exiled Queen Christina of Sweden who made him her Maestro di Cappella, Cardinal Pamphili, and the musically indefatigable Cardinal Ottoboni and, in Florence, Prince Ferdinando de Medici. In 1684 at the age of 24 Scarlatti moved to Naples, where he was appointed Maestro di Cappella at the vice-regal court of Naples, at the same time as his brother Francesco was made First Violinist. It was alleged that they owed their appointments to the intrigues of one of their sisters with two Court officials, who were dismissed. For the next two decades over half the new Operas given at Naples were by Scarlatti, producing over 40 works, which were first performed at the Viceregal Palazzo Reale and then at the public theatre of S. Bartolomeo, where Scarlatti was employed as the director along with nine singers, five instrumentalists and a copyist. In contrast to contemporary five-act Venetian Operas, which continued to rely upon mythological characters and stage machinery, Scarlatti's shorter three-act 'D rammi per Musica' centered on the characterization of kings and confidants, lovers and servants. Il Pirro e Demetrio (1694) and La caduta de' Decemviri (1697) were particularly successful. From 1695 his Operas and ‘musical dramas’ incorporated three-movement Sinfonias which soon became standard for all Italian Operas. -
Bella Dama 1
bella dama baroque cantatas Raffaele Pé countertenor Spiritato! RES10115 Antonio Vivaldi (1678-1741) Cessate, omai cessate, RV 684 Bella dama 1. Cessate, omai cessate [1:58] Baroque cantatas 2. Ah ch’infelice sempre [5:51] 3. A voi dunque ricorro [1:20] 4. Nell’orrido albergo ricetto di pene [3:34] Raffaele Pé countertenor Nicola Porpora (1686-1768) Salve Regina Spiritato! 5. Salve Regina [4:34] 6. Ad te clamamus [1:58] 7. Ad te suspiramus [2:42] violin 1 8. Eia ergo, advocata nostra [1:24] Kinga Ujszászi 9. Illos tuos misericordes [3:16] James Toll violin 2 10. O clemens, o pia [2:33] Joanne Miller viola Alessandro Scarlatti (1660-1725) Alice Manthorpe Saunders cello Bella dama di nome Santa 11. Introduttione [3:30] Kate Aldridge bass 12. Tu sei quella, che al nome sembri giusta [1:01] László Rózsa recorder 13. Dal nome tuo credei [3:22] 14. Fedeltade, ne pur ottien ricetto [1:36] Jadran Duncumb theorbo 15. Il nome non vanta di santa colei [3:56] harpsichord/organ Nicolás Mendoza Alessandro Scarlatti Infirmata vulnerata 16. Infirmata vulnerata puro deficit amore [5:23] About Raffaele Pé: 17. O care, o dulcis amor [0:46] 18. Vulnera percute, transfige cor [4:05] ‘[…] glorious sound, intense and dramatic eloquence’ 19. Cur, quaeso, crudelis es factus? [2:42] Il Corriere 20. Vicisti, amor, et cor meum [0:43] 21. Semper gratus desiderabilis [2:01] ‘[…] stand-out vocal talent was on display in young countertenor Raffaele Pé’ The Irish World Total playing time [58:29] Bella dama: Baroque cantatas could act as hostesses. -
The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CHALUMEAU IN EIGHTEENTH - CENTURY VIENNA: WORKS FOR SOPRANO AND SOPRANO CHALUMEAU By ELIZABETH CRAWFORD A Treatise submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2008 The members of the Committee approve the treatise of Elizabeth Crawford defended on March 17, 2008. ________________________________ Frank Kowalsky Professor Directing Treatise ________________________________ James Mathes Outside Committee Member ________________________________ Jeff Keesecker Committee Member ________________________________ John Parks Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to my mother and to the memory of my father. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee – Dr. Frank Kowalsky, Professor Jeff Keesecker, Dr. Jim Mathes, and Dr. John Parks – for their time and guidance. Thanks also to the staff of the Österreichische Nationalbibliothek for their assistance and to Eric Hoeprich for his insight and patience. iv TABLE OF CONTENTS List of Musical Examples . vi Preface . vii Chapter 1 – The Chalumeau . 1 Chapter 2 – Italian Influence in Vienna . 8 Chapter 3 – Musical Life at Court . 13 Chapter 4 – Giovanni Bononcini (1670-1747) . 17 Chapter 5 – Joseph I, Habsburg (1678-1711) . 23 Chapter 6 – Johann Joseph Fux (1660-1741) . -
Music of Domenico Scarlatti Innovation and Style of His Keyboard Sonatas
Advances in Social Science, Education and Humanities Research, volume 554 Proceedings of the 7th International Conference on Humanities and Social Science Research (ICHSSR 2021) Music of Domenico Scarlatti Innovation and Style of His Keyboard Sonatas MingChih Hsieh 1,* 1School of Music, Zhaoqing University, Guangdong, China *Email: [email protected] ABSTRACT Domenico Scarlatti (Napes, 26 October, 1685- Madrid, 23 July, 1757) is one of the most significant Italian music composers in the eighteenth century late Baroque period. Although he is a prolific composer who has composed a great deal of music in wide variety of forms and genres, he is best known for his 550 keyboard sonatas written mostly for the harpsichords (although they are mostly played on modern pianos these days). His keyboard sonatas are single movements, in binary or sonata allegro form, that show innovative virtuosic display on the keyboard with early classical influence. Some of his most important musical attributes of the keyboard works include the influence of Portuguese and Spanish folk music, the adoption of the early eighteenth century Galant style, the inspiration of guitar music by using rapid notes being played repetitively, the revolutionary harmonic devices by using unresolved dissonant chords, the usages of extreme dynamic contrasts, the technique of involving constantly hand-crossing over each other, and the complexity of finger works by applying fast running notes of arpeggios moving back and forth from extreme register of the keyboard. Except for his limited eighteenth-century English publications of his earlier sonatas and a few Continental reprints, the bulk of his keyboard music was almost unknown beyond his immediate circle and exercised little direct influence on these later generation Italian and German composers such as Carl Philipp Emanuel Bach (1714-1788), Joseph Haydn (1732-1809), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1782-1791), and Ludwig van Beethoven (1770-1827). -
New Thoughts on an Old Topic: Consistency and Inconsistency In
New Thoughts on an Old Topic: Consistency and Inconsistency in Historical Keyboard Fingering David Schulenberg (Wagner College and The Juilliard School) Historical Performance Conference, Indiana University May 20, 2017 http://faculty.wagner.edu/david-schulenberg/handouts/ Publications referred to Banchieri, Adriano. Conclusioni nel suono dell’organo. Bologna: Rossi, 1609. Translated by Lee R. Garrett as Conclusions for Playing the Organ. Colorado Springs: Colorado College Music Press, 1982. (See extract below.) Diruta, Girolamo. Il Transilvano: Dialogo sopra il vero modo di sonar organi, e i instromenti da penna, vol. 1. Venice: Vincenti, 1593 (numerous reprints). Translation by Murray C. Bradshaw and Edward J. Soehnlen as “The Transylvanian” (Il transilvano). Two volumes. Henryville: Institute of Mediæval Music, 1975. (See extract on last page of this handout.) Lindley, Mark. “An Introduction to Alessandro Scarlatti’s ‘Toccata prima.’” Early Music 10 (1982): 333–39. Vogel, Harald. “Zur Spielweise der Musik für Tasteninstrumente um 1600 / Keyboard Plaing Techniques around 1600.” In his edition of Samuel Scheidt, Tabulatura nova, part 2 (Wiesbaden: Breitkopf & Härtel, 1999), pp. 145–80. Examples 1. ?Girolamo Frescobaldi (1583–1643), Toccata seconda from Biblioteca Apostolica Vaticana, Chigi, Q.IV.25 (“Chigi 25”) 2. ?Frescobaldi, Toccata seconda from Chigi 25, with fingerings and groupings suggested by Diruta and Banchieri 3. John Bull (?1562/3–1628), Praeludium (BuK 121), from London, British Library, Additional ms. 31403, including original and possible modern fingerings 4. Alessandro Scarlatti (1660–1725), Toccata prima from London, British Library, Add. ms. 32161 (and other sources), as given by Lindley, ex. 1 5. Jacques Hotteterre le Romain (1673–1763), Principes de la flûte traversière (Paris, 1707), from the edition of Amsterdam: Roger, 1728, p. -
Cristofori and the Medici
ANIMUS CRISTOPHORI - KERSTIN SCHWARZ - PAPERS - NIZZA APRIL 2011 1 CRISTOFORI AND THE MEDICI Bartolomeo Cristofori (1655-1732) is one and the harpsichord at a professional level. of the most important instrument makers He also knew about composition and sing- of the past, best known as the inventor ing. According to an anonymous contem- of the piano action. Unfortunately almost porary biography he could read and me- nothing has come to light about his first morize at sight. During the winter months 33 years in his native city Padua. The only chamber music was performed every night known document from Padua is the an- at the prince’s apartment on the right side nouncement of his Baptism on 6th May of Palazzo Pitti. For the summer months he 1655 in the church of the S. Luca, giving created his own personal paradise in the his birth date as the 4th of May 1655. It Villa of Pratolino, 10km north of Florence, was in spring 1688 that Cristofori came to known for its beautiful park with refined Florence to serve the Tuscan Prince Ferdi- fountains and plays on water (ill.2) nando de’ Medici (1663-1713) as his musi- cal instrument maker. Ferdinando was the oldest son of Cosimo III de’ Medici. (1639-1723). Cosimo’s reign has been described by historians as time of decline (All three of Cosimo’s children re- mained childless with the consequence of the Medici dynasty’s extinction in 1737). However, like his ancestors, Cosimo was in- terested in art and employed a big variety of artisans and craftsmen.