DOCSLIB.ORG

Claudine Ansermet, Soprano Paolo Cherici, Lute & Vihuela

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Claudine Ansermet, Soprano Paolo Cherici, Lute & Vihuela Claudine Ansermet, soprano Paolo Cherici, lute & vihuela 2@ Recorded in Pugnano (Pisa, Italy) in March 1999 Engineered by Roberto Meo Produced by Sigrid Lee Executive producer: Carlos Céster Art direction: www.valentiniglesias.com Design: MusiContact GmbH Editorial direction: Carlos Céster Editorial assistance: María Díaz © 2011 MusiContact GmbH English his De inventione et usu musicae (c .1480-1487), and Chansons au luth Chansons au luth upheld as a musical ideal by the humanists; Baldassare Castiglione writes in his Book of the 1 Anonymous : J’ay pris amour 4:16 Courtier (1507, edited in 1528) “Beautiful music... 2 Pierre Attaingnant : L’espoir [instr.] 0:50 J’ay pris amours , the famous anonymous chanson by singing from the musical page with assurance 3 Guillaume Morlaye : Fantasie [instr.] 1:43 which Federico da Montefeltro commissioned to and pleasing manner, but it is even better to sing 4 Thomas Crecquillon : A vous en est 1:54 be reproduced in marquetry on the walls of the stu - to the viol because all the sweetness is combined 5 Francesco da Milano : Ricercare [instr. | n. 45 - c. 31] 0:57 diolo in his Urbino palace, leads off this programme into one, and it becomes easier to give one’s full 6 Jacobus Clemens non Papa : Misericorde 3:23 of French lute songs (chansons) from the 16th cen - attention to the melody and pleasing manner, 7 Pierre Attaingnant : La roque [instr.] 1:37 tury. Despite their diversity in style and prove - without having to occupy one’s ears with more 8 Claudin de Sermisy : J’atens secours 2:27 nance, they are wonderfully unified by their deli - than just one voice” ( ii , 13). 9 Claudin de Sermisy - Francesco da Milano : Las je my plains 3:46 cate verses and amorous themes and by the sweet One of the ways in which, from the very 10 Pierre Attaingnant : La Magdalena [instr.] 2:23 accents of the lute which introduces them. The beginning of the 16th century, Italy played a lead - 11 Francesco da Milano : Fantasia [instr. | n. 81 - c. 35] 0:45 performance of these chansons in their versions for ing role in spreading this ideal, was through the 12 Jacobus Clemens non Papa : Aymer est ma vie 2:18 solo voice accompanied by lute is an interesting publication of arrangements of frottole for voice 13 Francesco da Milano : Ricercare [instr. | n. 16 - c. 16] 0:58 and original departure from the a cappella versions and lute (in tablature): the two books of the 14 Jacobus Clemens non Papa : Puisque voulez que je vous laisse 1:50 we have learned to expect. Venetian printer, Ottaviano Petrucci, Tenori e con - 15 Thomas Crecquillon : Je suis aymé de la plus belle 3:10 A solo voice with accompaniment is general - trabassi intabulati col sopran in canto figurato per can - 16 Francesco da Milano : Ricercare [instr. | n. 63 - c. 30] 1:21 ly associated with Italian monody from the begin - tar e sonar col lauto (Tenors and contrabasses in tab - 17 Claudin de Sermisy : Secoures moy 2:44 ning of the 17th century – Peri, Caccini, Galilei –, lature with the soprano in notation for singing and 18 Pierre Attaingnant : La brosse [instr.] 2:38 the creation of recitar cantando and dramma per playing the lute – Libro Primo , Venice, 1509 and 19 Claudin de Sermisy - Pierre Attaingnant : Tant que vivray 3:33 musica . But these are only later manifestations of Libro Secondo , Fossombrone, 1511), and the Frottole 20 Francesco da Milano : Ricercare [instr. | n. 31 - c. 11] 0:38 what humanists had been looking for since the de Misser Bartolomio Tromboncino et de Misser 21 Thomas Crecquillon : L’ardant amour souvent 3:13 beginning of the Renaissance – the marvelous Marcheto Cara con tenori e bassi tabulati et con soprani 22 Francesco Spinacino : Ricercare [instr.] 1:27 effects of Orpheus’ singing, believed capable of in canto figurato per cantar e sonar col lauto (Frottolas 23 Anonymous - Pierre Attaingnant : Fortune laisse moy la vye 4:32 charming savage beasts and moving trees and by Mr. Bartolomio Tromboncino and Mr. 24 Thomas Crecquillon : Quand me souvient de ma triste fortune 3:55 stones to tears. In the 15th century, Marsilio Ficino Marchetto Cara with tenors and basses in tablature 25 Francesco da Milano : Ricercare [instr. | n. 70 - c. 44] 1:17 had resorted to this mythical practice: he sang with the soprano in notation for singing and play - “hymns to Orpheus” accompanying himself on the ing with the lute – Rome, c .1520). There is a corre - 2@ lyra while burning incense. Singing to the lute had spondence to these books in Germany: Arnolt been fashionable since 1480 as Tinctoris writes in Schlick’s Tabulaturen etlicher lobgesang un lidlein uff 4 5 English English die orgeln un lauten (Tablature of several hymns of They embody the fusion of poetry and music, Milano for the last). This demonstrates how wide - sense of discordante concordia , as it was understood praise and songs for the organ and lute – Magonza ideal so assiduously pursued by Renaissance musi - spread their fame had become, and more so if we in the Renaissance, have been further enriched by 1512); in Spain, vihuelist Luys Milán’s Libro de cians, in their respect for poetic syntax, largely consider that Francesco da Milano (1497-1543) was the performers. Claudine Ansermet has chosen to música de vihuela de mano intitulado El Maestro homophonic writing and clarity of structure mod - one of the most prolifically published lute com - prolong the pleasure of listening to a piece by (Book of vihuela music entitled The master – eled on melodic repetition. The anthology of posers of his time, and first Italian musician to adding, here and there, a second, ornamented ver - Valencia 1536), containing villancicos and romances Phalèse, on the other hand, contains chansons enjoy an international reputation. In fact he was sion whereas Paolo Cherici, to add to the beauty of for voice and vihuela. The French chanson appears whose style could be more likened to the motet. called divino together with Michelangelo! The the harmony and the fullness of the sonorities, as such in the Très brève et familière introduction pour These are the works of Thomas Crecquillon other chansons have been combined with dances, embellishes the lute tablature with diminutions in entendre et apprendre par soy mesmes à jouer toutes (c .1505-c .1557), choir master and composer at the ricercari or fantasias, according to the practice of the Renaissance instrumental tradition. Their chansons reduictes en la tabulature du luth (Very brief court of Charles v, and Jacobus Clemens non Papa the time. From the earliest publications of music intention is to elicit emotions similar to those and familiar introduction for listening and learning (c .1510-c .1556). for lute (Francesco Spinacino’s L’intabolatura de described by Castiglione on the singing at the by oneself to play all the songs, in lute tablature The alternation of chansons and lute compo - lauto libro primo published by Petrucci in 1507) the Chapel of Pope Leo x : “... it is so artful, quick, reduction), Paris, 1529, published by Pierre sitions is quite appropriate here. This constant ricercar had been associated with the chanson. In vehement and impassioned, and so melodically Attaingnant, and then in the second part of Hortus renewal of variety and interest denotes a desire on some cases references were made to specific chan - varied, that it touches and enflames the spirit of Musarum , Louvain, published in 1553 by Pierre the part of the artists to offer the listener the most sons, as in Ricercar de tous biens and Ricercare a Juli whoever hears it. It is so enchanting that it is like Phalèse in Leuven. perfect kind of musical pleasure possible. This idea amours (from the Secondo Libro ) which were based being in heaven.” For the modern listener the Claudine Ansermet and Paolo Cherici have goes hand in hand with the Renaissance conception on the chansons having the same title in tablature desire to hear the music of the spheres may be a chosen the pieces recorded here from the two lat - of music. In fact it was during the Renaissance that present in the same book. The fantasia, too, is vain one, but perhaps at the very least, hearing ter collections. Attaingnant’s anthology assured music acquired the power to excite emotions, associated with the chanson. In the first part of these French chansons will enable us to penetrate the spreading of the so-called “Parisian” chanson, thanks to the belief that musical harmonies had an Phalèse’s Hortus Musarum (1552) 18 fantasies by the spirit of the Renaissance. represented here by some of the most beautiful affinity with the harmonies of the human body and Francesco da Milano appear alongside numerous compositions of Claudin de Sermisy (c .1495- soul. This idea is exemplified in Boethius’ division transcriptions of chansons and motets. But the Florence Malhomme 1562), one of the composers most often published of the world into musica mundana , musica humana Venetian manuscript Ms. Tl. 1 of the G. Thibault Translated by Sigrid Lee in his time and court musician “par excellence”. As and musica instrumentalis . For the first time the lis - library (first half of the 16th century) furnishes a member of the Royal Musical chapel, he attend - tener is solicited individually by the composer, and the most interesting witness to this practice ed the funeral of Louis xii in 1515 and then of then by the singer or instrumentalist who seeks to because in it there are not only ricercari but dances François i in 1547 in addition to witnessing the his - touch his soul and kindle his pleasure.
Load more

Recommended publications
  • Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)
    Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 136-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part: 13 canciones and 1 Fuga (or Tiento) in 5 voices transcribed for keyboard instrument or harp and arranged for recorders or other instruments with introduction and critical notes by Arnold den Teuling Keyboard instrument or harp 2017 1 2 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He omitted the intabulations, “glosas”, of other composers, apparently objecting a lack of originality to them. He also gave an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works.
    [Show full text]
  • Italian Renaissance Music and Sound in the Newberry Collection
    QUICK GUIDE Italian Renaissance Music and Sound in the Newberry Collection How to Use Our Collection The Newberry is an independent research library; readers do not check books out to take home, but consult materials—mostly rare books, manuscripts, maps, and other materials with a focus on the humanities—here. We welcome into our reading rooms researchers who are at least 14 years old or in the ninth grade. Creating a free reader account and requesting collection items takes just a few minutes. Visit https://requests.newberry.org to begin the registration process and to start exploring our collection; when you arrive at the Newberry for research, a free reader card will be issued to you in our third-floor reference center. Sampling of the Works of Bartolomeo Tromboncino and Franciscus Bossinensis Antico, Andrea. Canzoni, sonetti, strambotti et and in modern notation. Call number: VM 2 .I87 frottole: libro tertio. Northampton, MA: Smith n.s. v. 3 College, c1941. Composers named in this collection of music include Bartolomeo Tromboncino and Bossinensis, Franciscus. Tenori e contrabassi Marchetto Cara, two of the best known composers intabulati col soprani in canto figurato per of frottole. Frottole (singular: frottola) – like those cantar e sonar col lauto. [Venice: Per in today’s performance – are simple, secular, vocal Octauaianu[ue] Petrutium, 1509]. Very rare work compositions that were popular in late 15th- and by Bossinensis and the last known book to be early 16th-century courts. Call number: VM 2 .S64 printed by Ottaviano Petrucci in Venice. The v. 4 volume includes pieces by the best-known composers of frottole, including Bartolomeo Bossinensis, Franciscus.
    [Show full text]
  • PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491
    PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491 RODOBALDO TIBALDI REPERTORIO TRÀDITO E COEVO NELLE INTAVOLATURE PER CANTO E LIUTO RACCOLTE DA FRANCESCO BOSSINENSIS CON UNO SGUARDO ALLE RACCOLTE ANALOGHE I due libri di intavolature per canto e liuto raccolti da Franciscus Bossinensis e pubblicati da Ottaviano Petrucci nel 1509 e nel 1511 sono stati variamente conside- rati dagli studi musicologici, talvolta in riferimento alla prassi esecutiva, talvolta con una certa attenzione a singoli e ben determinati fenomeni analizzati in alcuni brani, ma più spesso come riduzioni a tre parti di componimenti ‘vocali’ a quattro voci (o comunque concepiti a quattro voci); il più delle volte, comunque, vengono esamina- ti come un qualcosa esistente in quanto dipendente dai libri di frottole editi tra il 1504 e il 1514, e non nella loro autonomia. Eppure, uno sguardo complessivo alle due sil- logi, alla mappa delle relazioni con i testimoni a penna e a stampa afferenti al mede- simo repertorio (tra i quali un posto non secondario ricopre l’importante manoscrit- to Parigi, Bibliothèque Nationale de France, Rés. Vmd. ms 27), il confronto tra le diverse versioni, che talvolta rivela alcuni aspetti interessanti riguardanti non solo la sfera dell’esecuzione, ma soprattutto quella della composizione (o, per lo meno, sembra talvolta che la diversa destinazione delle raccolte del Bossinensis sia consi- derata proprio nella sua ‘alterità’), ed infine il numero degli unica conservati nei due libri, e nel secondo in modo particolare, ci permettono di osservarli in una prospetti- va un poco diversa, forse anche a causa della perdita del decimo libro di frottole.
    [Show full text]
  • I Al the MULTIVOICE SACRED MUSIC of NICOLAS GOMBERT: A
    THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION by Brandi Amanda Neal Bachelor of Arts in Music, University of South Carolina, 2003 Master of Arts in Music, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 al i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Brandi A. Neal It was defended on April 1, 2011 and approved by James P. Cassaro, Adjunct Assitant Professor, Department of Music, Head, Theodore M. Finney Music Library Alan Lewis, Director of Music, Calvary Episcopal Church, Pittsburgh, Pennsylvania Don O. Franklin, Professor Emeritus, Department of Music Francesca L. Savoia, Associate Professor of Italian, French and Italian Languages and Literature Dissertation Advisor: Mary S. Lewis, Professor Emerita, Department of Music ii Copyright © by Brandi A. Neal 2011 iii THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION OF STYLE AND CONTEXT Brandi A. Neal, PhD University of Pittsburgh, 2011 This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495-1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed.
    [Show full text]
  • The Transcriber's Art – #51 Josquin
    The Transcriber’s Art – #51 Josquin des Prez by Richard Yates “Take Five. There's a certain piece that if we don’t play, we’re in trouble.” —Dave Brubek It was a familiar situation: deep in the stacks, surrounded by ancient scores, browsing for music that might find artful expression through the guitar. Perusing pages of choral music, I was suddenly struck by the realization that what I was doing was precisely what lutenists 400 years ago had done. While not exactly déjà vu, there was a strong sense of threading my way along paths first explored centuries ago. And if I was struggling with this source material, did they also? What solutions did they find and what tricks did they devise? What can we learn from them to help solve the puzzle of intabulating Renaissance vocal polyphony? The 16th century saw the gradual evolution of musical ideals that culminated in the works of Giovanni Pierluigi da Palestrina (1525–94). Polyphonic music was to be a smooth, effortless flow of independent voices. Predominant stepwise movement emphasized continuity of individual lines but without drawing undue attention to any particular one. Dissonance was largely confined to the weak beats and passing tones or softened through suspensions. With its unique capacity for continuous modulation of timbre, pitch and volume, the human voice was exquisitely suited to this style. The articulation of syllables, true legato and subtle, unobtrusive portamento that connects phonemes and that is inherent in singing all facilitated the tracking of voices through a closely woven texture. Renaissance choral music is inextricably bound up with, and dependent on, the qualities of human voice.
    [Show full text]
  • The Sixty-Fifth Season of the William Nelso Cromwell and F
    The Sixty-fifth Season of The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art 2,592nd Concert Suspicious Cheese Lords Presented in honor of Prayers and Portraits: Unfolding the Netherlandish Diptych November 12, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Guillaume Dufay (c. 1397 – 1474) Ave Regina caelorum Gilles Binchois (c. 1400 – 1460) Dixit sanctus Philippus Jean de Ockeghem (c. 1410 – 1497) Mort tu as navré Josquin des Pres (c. 1450 – 1521) Ave Maria . virgo serena Pierre de La Rue (c. 1452 – 1518) Laudate Dominum omnes gentes Thomas Crecquillon (c. 1505 – 1557) Vidit Jacob scalam Antoine Brumel (c. 1460 – c. 1513) Benedictus Josquin La déploration de la mort de Johannes Ockeghem ______________ 3 intermission Brumel Mater patris et filia Josquin Gloria from Missa mater patris Jheronimus Vinders (fl. 1525 – 1526) O mors inevitabilis Jean Mouton (c. 1459 – 1522) Gloriosa virgo Margareta Adrian Willaert (c. 1490 – 1562) O magnum mysterium/Ave Maria Nicolas Gombert (c. 1495 – c. 1560) Lugebat David Absalon Elzéar Genet (c. 1470 – 1548) Tibi Christe ______________ 4 The Musicians The Suspicious Cheese Lords, a male a cappella ensemble, sings a reper- toire that ranges from Gregorian chant to contemporary composition. In addition to its National Gallery debut on December 18, 2005, the group has performed at the Smithsonian Institution, the xm Satellite Radio live perfor- mance studio, and a number of Washington area churches. The Washing- ton Post described a recent performance as “genuinely beautiful . rapturous music-making.” The ensemble has been profiled in publications as diverse as the Washington City Paper and Early Music America magazine.
    [Show full text]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]
  • FLEMISH MUSIC for the HOUSE of HABSBURG the Peak of One Of
    FLEMISH MUSIC FOR THE HOUSE OF HABSBURG The peak of one of Europe’s most extraordinary ruling dynasties coincided with the flourishing musical climate of the 16th century. This program features Flemish music associated with monarchs Maximilian I and Charles V. PROGRAM Nicolas GOMBERT - Magnificat tertii et octavi toni GOMBERT - Lugebat David Absalon Heinrich ISAAC - Tota pulchra es JOSQUIN - Gaude virgo mater Thomas CRECQUILLON - Pater peccavi arr. Ludwig SENFL - Quis dabit oculis nostris ISAAC - Virgo prudentissima SINGERS Soprano Danielle Sampson Ruth Schauble Margaret Obenza Alto Sarra Sharif Doyle Joshua Haberman Tenor Orrin Doyle Kurt Kruckeberg Bass Gabriel Lewis-OConnor Peter Lifland Willimark Obenza The House of Habsburg, one of the most influential royal houses of Europe, shaped the arts world like no other dynasty. In the sixteenth century, the power and wealth of a dynasty were expressed through its patronage of art and science. The most important ruler had to demonstrate that he was also an outstanding patron by commissioning and collecting works of art. Artists employed at the court enjoyed a good income, high social standing, and remarkable freedoms, a rarity during this period of religious turbulence. The program features music by the most famous Franco-Flemish composers employed by Maximilian I (1486-1519) and Charles V (1519-1556). Music was clearly important to Charles V. He collected musicians during his travels, eventually finding Nicolas Gombert (c.1495- 1560) in Flanders and naming him choirmaster for the royal chapel in 1529. He and the singers would travel with the emperor, further spreading the Franco-Flemish polyphonic tradition. He unofficially held the position of court composer, arranging many works commemorating key events during Charles V’s life.
    [Show full text]
  • Universiv Microtlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)
    Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes a quatro Fol. 69 – 104 from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 15 pieces in 4 voices and 3 pieces in 3 voices transcribed for keyboard instrument and harp and arranged for recorders or other instruments by Arnold den Teuling Keyboard instrument or harp 2016 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He also gives an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works. He mostly passed over the intabulations of works of other composers, apparently objecting a lack of originality to them. Later editors mostly contented themselves with reprinting parts of Pedrell‘s work, possibly with corrections, and optical adaptation to modern use.
    [Show full text]
  • Album Booklet
    CON ARTE E MAESTRIA Virtuoso violin ornamentation from the dawn of the Italian Baroque Monteverdi String Band In Focus Oliver Webber violin Steven Devine organ & harpsichord Con arte e maestria Giovanni Bassano (c.1561–1617) Gärtner (dates unknown) 1. Ricercata prima [2:29] 9. Toccata [2:34] Virtuoso violin ornamentaon from Cipriano de Rore (c.1515–1565) Biagio Marini the dawn of the Italian Baroque (ornaments by Riccardo 10. Sinfonia ‘L’Orlandina’ [2:09] Rognoni, c.1550–c.1620) 2. Anchor che col parre [3:35] Giovanni Gabrieli (c.1555–1612) Monteverdi String Band In Focus 11. Toccata del secondo tuono [2:16] Giovanni Pierluigi da Oliver Webber violin Palestrina (c.1525–1594) Tomas Luis de Victoria (c.1548–1611) Steven Devine organ & harpsichord (ornaments by Oliver Webber b.1969) (ornaments by Giovanni Basta 3. Deh hor foss’io col vago della luna [4:07] Bovicellim, fl. late 16th century) 12. Dilectus tuus candidus [6:40] Ascanio Mayone (c.1565–1627) 4. Canzon francese prima [2:39] Cipriano de Rore (ornaments by Oliver Webber) Biagio Marini (1594–1663) 13. Signor mio caro [3:50] 5. Sinfonia ‘La Gardana’ [2:06] Oliver Webber Oliver Webber (aer Claudio Monteverdi et al.) (aer Giovanni Bassano) 14. Ciaccona [4:23] 6. Ricercata [1:59] Michelangelo Rossi (c.1601–1656) Thomas Crecquillon (c.1505–c.1557) 15. Toccata nona [3:48] About Oliver Webber: (ornaments by Oliver Webber) 7. Par trop souffrir de fortune Dario Castello (1602–1631) ‘Oliver Webber [bows] with rapier-like eloquence’ ennemie [4:29] 16. Sonata prima [4:05] Gramophone Orlando di Lasso (c.1532–1594) Carlo G (fl.
    [Show full text]
  • FROTTOLE Popular Songs of Renaissance Italy Certain Periods in Human History Seem to Be Particularly Marked by Epoch-Making Events
    FROTTOLE Marchetto Cara (1470-1525): Popular Songs of RenaissanceFROTTOLE Italy @ Per dolor me bagno el viso (1-7, 9) 5:56 Popular Songs of Renaissance Italy Text: Anonymous • Source: O. Petrucci, Frottole Libro XI, Fossombrone 1514 Anonymous: Vincenzo Capirola (1474-after 1548): # 1 La vida de Culin (1-6, 8-9, 11) 2:25 Ricercar Ottavo (5) 1:47 Text: Anonymous • Source: Ms Montecassino 871 Source: Compositioni di Messer Vincenzo Capirola, 1517 ca. Jacopo da Fogliano (Giacomo Fogliano) (1468-1548): Francesco Patavino (1478-1556): 2 L’amor, dona ch’io te porto (1-9) 3:10 $ Un cavalier di Spagna (1-4) 1:25 Text: Anonymous • Source: O. Petrucci, Frottole Libro VII, Venezia 1507 Text:FROTTOLE Anonymous • Source: Libro primo de la Croce, Pasotti & Dorico, Roma 1526 Adrian Willaert (1490-1562): POPULAR SONGSBartolomeo OF Tromboncino: 3 Vecchie letrose (1-10, 12) 2:15 RENAISSANCE% Virgine ITALY bella (1, 6-7, 9-10) 4:02 Text: Anonymous • Source: A. Gardano, Canzone villanesche alla napolitana, Venezia 1545 Text: Francesco Petrarca • Source: A. Antico, Canzoni nove, Roma 1510 Michele Pesenti (c. 1600-c. 1648) (attr.): Marchetto Cara: 4 Che faralla, che diralla (1-4, 6-10) 3:40 ^ Non è tempo d’aspettare (3, 5-7, 9-10) 3:25 Text: Anonymous • Source: O. Petrucci, Frottole Libro XI, Fossombrone 1514 Text: Anonymous • Sources: F. Bossinensis, Tenori e contrabbassi intabulati col sopran Anonymous: in canto figurato per cantar e sonar col lauto, Venezia 1509 5 Occhi miei, al pianger nati (1-7, 9-10) 4:42 Text: Anonymous • Source: O. Petrucci, Frottole Libro II, Venezia 1505 Giovan Battista Zesso (Ioannes Baptista Gesso) (15th-16th century): & D’un bel matin d’amore (1-10) 2:13 Joan Antonio Dalza (? - after 1508): Text: Anonymous • Source: O.
    [Show full text]