DOCSLIB.ORG

5025190-4D002b-635212054420.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
5025190-4D002b-635212054420.Pdf TELEMANN The viola da gamba is a most remarkable express both lyrical melody and harmony with instrument: it has had a continuous history chords, and many composers sought to combine SOLO FANTASIAS from its development at the end of the 15th both elements. For the most part, composers of Century to the present day and has adapted to the solo music have been virtuoso exponents of the changing musical fashions with surprising ease. instrument, such as Diego Ortiz (1553), Tobias No. 1 in C Minor No. 5 in B flat Major No. 9 in C Major Hume (1605), Rognoni & Dalla Casa, William 1 Adagio/Allegro [3.16] e Allegro [2.35] g Presto [2.11] It was developed from the vihuela, an ancestor Lawes, Marin Marais, Antoine Forqueray and his 2 Allegro [2.12] r Largo [0.59] h Grave [2.58] also of the guitar, in Spain in the last part of son, Johann Schenck (1675), De Machy (1685), t Allegro [1.33] j Allegro [2.05] 15th Century, and came to Italy in 1492 and Abel (1780s). No. 2 in D Major with the election of the second of the Borgia 3 Vivace [2.35] No. 6 in G Major No. 10 in E Major popes, Alexander VI. While Rodrigo de Borgia To this list we can now add Georg Philipp 4 y k Andante [2.06] Scherzando [2.45] Dolce/Allegro [2.29] was known as a notorious libertine, fathering Telemann, who wasn’t a viola da gamba virtuoso, 5 u l Vivace [2.32] Dolce [2.32] Siciliana [1.58] several children with his many mistresses, he but who played the instrument well enough to 6 i ; Presto [1.33] Spirituoso [1.18] Scherzando [2.07] was also a cultured man who loved music, and be able to write idiomatically for it – as he did in his retinue were several players of the vihuela for many other instruments. No. 3 in E Minor No. 7 in G Minor No. 11 in D Minor d’arco. This term was Italianised to ‘viola’ and 7 Largo [2.00] o Andante [4.24] ' Allegro [2.12] ‘da gamba’ added to distinguish it from the Telemann has a reputation – and an oddly 8 Presto [1.44] p Vivace [1.37] z Grave [1.43] emerging violin family instruments, played ‘da negative one – for being almost pathologically 9 Vivace [1.36] a Allegro [1.37] x Allegro [2.06] braccio’ or on the arm. prolific. Yet his friend and contemporary, J. S. No. 4 in F Major No. 8 in A Major No. 12 in E flat Major Bach who was almost as energetic a composer, 0 Vivace [4.29] s Allegro [1.57] c Andante [3.01] Initially, this new instrument played vocal doesn’t suffer a similar slur. In fact, in their q Grave [0.34] d Grave [1.56] v Allegro [2.13] polyphony in consorts of three, four, five and lifetimes, Telemann was the critics’ choice w Allegro [1.37] f Vivace [2.11] b Vivace [2.27] six parts, perhaps from the newly invigorated and was famously the first in line for the post printing of music in Venice by Petrucci. But of Thomaskantor in Leipzig when the post Total timings: [79.09] Its potential as a solo instrument was quickly became vacant in 1723, Bach being third. In his realised and the first publication of solo lifetime, he was widely regarded as Germany’s music came in 1542 in Venice. Having six strings leading composer and kept entirely up to date RICHARD BOOTHBY (and later seven) and tuned in the same way with musical developments, forging important VIOLA DA GAMBA as the lute gives the instrument the ability to links between baroque and classical styles. www.signumrecords.com - 3 - Part of his fame came from being his own for violin and the suites for ‘cello, and also a is in French, and the dedication suggests It is remarkable that the solo bass viol, publisher, and an inventive and enterprising large body of German music in the 17th that Telemann thought of these works as in the already having such a large repertory (without one at that. Not only did he write the music, but century for unaccompanied violin and viola da French style, and his love of French music was mentioning the chamber music or the consort he personally engraved the plates as well, gamba. He published a set of 12 fantasies for to lead to his visit to Paris a few years later. music) finds itself enriched even more with a claiming he could complete nine or ten a day. solo flute in 1732, each in a different key in large body of important and excellent works Between 1725 and 1740, he issued no fewer ascending order, and then a couple of years While the first two sets of solo fantasias were by a leading composer of the high baroque. than 43 publications. Many of his publications later a similar set for violin, again all in different known and reprinted several times, the set for And what works they are! by turns virtuosic came out in weekly or monthly installments, keys, but without the ascending format. The viol was lost. This may suggest that fewer people and expressive, Telemann uses all the encouraging the public to continue buying until same year, he published another set for viola bought the set; yet, Telemann had a keen idea techniques of the instrument to create the particular work they wanted was complete. da gamba, in the same format as the flute set, of what was economically feasible and would satisfyingly complete Fantasias that are full with (mostly) ascending keys, but starting at C. not have written, let alone published music that of diversity. He exploits the character and the His facility in writing idiomatic instrumental wasn’t going to sell. So this tells us that there possibilities of each key, using more chords music for almost all instruments then in use It is noticeable that it is for these very were many extremely competent amateur viol in the home keys – G, D, C and so on – and was legendary, and we can hear that clearly in instruments that Telemann was to frame his players in the German-speaking world and beyond. employing a more melodic style in those his writing for the viol in these Fantasias. most accomplished chamber music, the so-called more remote keys. ‘Paris Quartets’, for violin, flute, viola da gamba Then, in the year 2000, Schloß Ledenburg, In 1728 Telemann had started the first music (or ‘cello) and continuo. And when he travelled a castle near Osnabrück, donated a large No viol player can be anything other than periodical, Der getreue Music-Meister, which to France in 1737 to present these works, he collection of music to the State library. It was thrilled that we now have 12 beautiful and appeared every 14 days, and which contained was ecstatic at the abilities of the great French a vast collection and it took fully ten years excellently composed ‘new’ works by the all sorts of music, not all of it by Telemann. virtuosos who played them: Guignon, Blavet, for librarians and musicologists to sort through great Telemann. And he included a sonata for solo viola da Forqueray & Eduoard. Perhaps he already had and catalogue this music; it was only then that gamba, very idiomatically conceived for Jean-Baptiste Antoine Forqueray in mind when it became clear that a lone copy of Telemann’s Richard Boothby the instrument and surely a model for these composing these Fantasies? viol fantasias was amongst this treasure twelve fantasias. trove. In 2015 it was announced that it had The viol Fantasies were dedicated to Pierre been found and that a new publication would In the 1730s, he became very interested in Chaunell, a prominent and wealthy Hamburg be issued the following year, together with the possibilities of writing for a solo instrument business man, whose Huguenot family had a recording; and they were first performed without any bass. In this, he may have been fled France at the revocation of the Edict of during the Mecklenburg Telemann Festival influenced by Bach’s solo sonatas and partitas Nantes in 1685. The title page of the publication in March 2016. - 4 - - 5 - RICHARD BOOTHBY Richard has been playing the viol ever since David Fallows handed him a tenor viol in 1977. He was attempting to teach him about Wagner’s ‘Ring’ in Manchester University, and he was in his final year as an undergraduate there. After further study with Nikolaus Harnoncourt in Salzburg, he founded The Recorded in the Church of St Mary Magdalene, Sherbourne, Gloucestershire from 17-19 July 2017. Purcell Quartet in 1984 and Fretwork in 1985. Producer & Editor – Nicholas Parker Recording Engineer – Mike Hatch He has endeavoured to enrich the viol- Recording Assistant – Michael Gerrard consort repertory with new music from today’s finest composers, from Elvis Costello to George Cover Image – © Nick White Design and Artwork – Woven Design www.wovendesign.co.uk Benjamin, from Alexander Goehr to Nico Muhly. P 2018 The copyright in this sound recording is owned by Signum Records Ltd With the Purcell Quartet, he recorded nearly © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd 50 albums for Hyperion and Chandos; and Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action with Fretwork over 30 albums for Virgin by law.
Load more

Recommended publications
  • Rebecca Kellerman Petretta, Soprano Charles Humphries, Counter-Tenor
    THE TUESDAY CONCERT SERIES THE CHURCH OF THE EPIPHANY Since Epiphany was founded in 1842, music has played a vital at Metro Center role in the life of the parish. Today, Epiphany has two fine musical instruments which are frequently used in programs and worship. The Steinway D concert grand piano was a gift to the church in 1984, in memory of parishioner and vestry member Paul Shinkman. The 64-rank, 3,467-pipe Æolian- Skinner pipe organ was installed in 1968 and has recently been restored by the Di Gennaro-Hart Co. It was originally given in memory of Adolf Torovsky, Epiphany’s organist and choirmaster for nearly fifty years. HOW YOU CAN HELP SUPPORT THE SERIES 1317 G Street NW Washington, DC 20005 www.epiphanydc.org The Tuesday Concert Series reaches out to the entire [email protected] metropolitan Washington community. Most of today’s free- Tel: 202-347-2635 will offering goes directly to WBC but a small portion helps to defray the cost of administration, advertising, instrument upkeep and the securing of outstanding performers for this concert series. We ask you to consider a minimum of $10. UESDAY ONCERT ERIES However, please do consider being a Sponsor of the Tuesday T C S Concert Series at a giving level that is comfortable for you. 2013 Our series is dependent on your generosity. For more information about supporting or underwriting a complete concert, please contact the Rev. Randolph Charles at 202- 347-2635 ext. 12 or [email protected]. To receive a 15 APRIL 2014 weekly email of the upcoming concert program, email Rev.
    [Show full text]
  • Download Booklet
    2 CD John Jenkins as the occasion required; he was apparently JOHN JENKINS (1592-1678) Four Part Consort Music never officially attached to any household, for COMPLETE FOUR-PART CONSORT MUSIC his pupil Roger North wrote: “I never heard that Amateur viol players throughout the world love he articled with any gentleman where he playing the consort music of John Jenkins, resided, but accepted what they gave him.” probably more than any other English composer of the great golden era of music for multiple We can guess that they must have been quite viols, that ranges from William Cornyshe in advanced players in that much of the music CD1 CD2 1520 through to Henry Purcell in 1680. And was highly virtuosic in the division style, where 1 Fantasia No. 1 [3.24] 1 Fantasia No. 10 [3.58] the reason why is not hard to fathom: a rare slow-moving lines are decorated by ‘dividing’ the 2 Fantasia No. 2 [3.57] 2 Fantasia No. 11 [3.30] melodic gift is married to an exceptionally deep longer notes into ever shorter ones. However, the 3 Fantasia No. 3 [4.03] 3 Fantasia No. 12 [4.18] understanding of harmony and modulation; consort style was mostly concerned with more effortless counterpoint gives each part an melodic, mellifluous lines and Jenkins wrote a 4 Fantasia No. 4 [3.39] 4 Fantasia No. 13 [3.16] equal voice in the musical conversation; and large body of such music for four, five and six viols. 5 5 Pavan in D Minor [6.09] Fantasia No.
    [Show full text]
  • Spring 2021 PROGRAM #: EMN 20-42 RELEASE
    Early Music Now with Sara Schneider Broadcast Schedule — Spring 2021 PROGRAM #: EMN 20-42 RELEASE: April 5, 2021 Joyful Eastertide! This week's show presents an eclectic array of music to celebrate Easter, including motets by François Couperin, Jacob Obrecht, Antoine Busnois, and Orlando Gibbons. We'll also hear from two composers based in Hamburg: Matthias Weckmann and Thomas Selle. Our performers include Weser Renaissance Bremen, Capilla Flamenca, Cantus Cölln, and Henry's Eight. PROGRAM #: EMN 20-43 RELEASE: April 12, 2021 Treasures from Dendermonde The music of Hildegard of Bingen has come down to us in only two sources, one of which is known as the Dendermonde Codex, named after the abbey in the Belgian town where it is now housed. We'll hear Psallentes, a Belgian ensemble specializing in chant, performing selections from this codex. We'll also hear them singing 14th and 15th century chant from Tongeren. PROGRAM #: EMN 20-44 RELEASE: April 19, 2021 Recent Releases We're sampling a couple of exciting recent releases this week! The Mad Lover features sonatas, suites, grounds, and various bizzarie from 17th century England performed by Théotime Langlois de Swarte (violin) and Thomas Dunford (lute). We'll also hear from Ensemble Morgaine, with tracks from their 2021 release Evening Song, which focuses on 16th century hymns, songs, and Psalms from the Polish-Lithuanian Commonwealth. PROGRAM #: EMN 20-45 RELEASE: April 26, 2021 Petrucci and the Odhecaton Ottaviano Petrucci was a printer working in Venice at the turn of the 16th century. He revolutionized the distribution of music and cultivated a taste for the Franco-Flemish style in Italy with the publication of Harmonice Musices Odhecaton in 1501.
    [Show full text]
  • British Viol Consort Fretwork to Play Old and New Music at CMA October 12
    British viol consort Fretwork to play old and new music at CMA October 12 by Daniel Hathaway You could say with some accuracy that Fretwork, the British viol consort, was an idea formed in Hell. Its early members Richard Boothby, Bill Hunt, and Richard Campbell first played together in the underworld scene in Monteverdi’s Orfeo, a production semi-staged in Barcelona in 1985 ​ ​ by Andrew Parrott’s Taverner Players. Those three minutes led to further performances, and now Fretwork is considered among the premier viol ensembles in the world. Most viol consorts stick to old music composed before the viola da gamba became extinct in England in the latter part of the 17th century. Fretwork is unusual in its equal embrace of contemporary music: on its website the group lists two dozen composers who have written works for them. Fretwork’s current five members, Asako Morikawa, Reiko Ichise, Sam Stadien, Emily Ashton, and Boothby (far right in the photo) will appear on the Cleveland Museum of Art’s Performing Arts series in Gartner Auditorium on Wednesday, October 12 at 7:30 pm. The program includes 16th and 17th century English consort music by John Taverner and Orlando Gibbons, works by contemporary composers Nico Muhly and Gavin Bryars, and a special performance of Norwegian composer Maja Ratkje’s River ​ Mouth Echoes. ​ Cleveland is one of ten cities Fretwork will visit on an American Tour that begins on October 6 in Montréal and ends on October 24 in Victoria, BC, with stops in Boston, Milwaukee, Wake Forest in North Carolina, Jackson in Mississippi, Austin and Lubbock in Texas, and Vancouver BC.
    [Show full text]
  • The Silken Tent Clare Wilkinson Soprano Fretwork
    The Silken Tent Clare Wilkinson soprano Fretwork 1 1 Where the Blind and Wanton Boy William Byrd 2 Auf ein altes Bild Hugo Wolf 3 Now Each Flowery Bank of May Orlando Gibbons 4 The Garden Stephen Wilkinson 5 La fille aux cheveux de lin, from Preludes, Book 1, L. 117 Claude Debussy 6 Turn Our Captivity, O Lord William Byrd 7 O Solitude, Z.406a Henry Purcell 8 O Waly, Waly, from Folk Song Arrangements, Vol. 3, “British Isles” Benjamin Britten Three Sonnetts and Two Fantasias, Op. 68: Alexander Goehr 9 Sonnet CXVI: Let Me Not to the Marriage 0 Fantasia I q The Silken Tent w Fantasia II e Sonnet LXXVI: Why Is My Verse so Barren? r O Lord, in Thy Wrath Orlando Gibbons t Music for a While Henry Purcell y Sleep Peter Warlock u Lord, to Thee I Make My Moan William Byrd i-o Prelude and Fugue in C Major, Op. 87 Dmitri Shostakovich p O Lord, Make Thy Servant Elizabeth William Byrd a Gebet Hugo Wolf s Heimweh, from Lyric Pieces, Book 6, Op. 57 Edvard Grieg d At the Manger Stephen Wilkinson f If (From “The Diary of Anne Frank”) Michael Nyman 2 The Silken Tent is quite unsuited to viols; but this opening (and closing) section is intense, deeply melancholy and contained, which suits viols down to the ground. Until quite recently it was thought that the viola da gamba died with the death of one its most loved exponents, Charles Frederick Abel, in At either end of the time spectrum, there is music written specifically 1787; and that it was literally buried with the composer in St Pancras for viols.
    [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]
  • John Dowland's Seaven Teares
    John Dowland’s Seaven Teares A thorough theoretical analysis Rodolfo Raphael Moreno Martínez John Dowland’s Seaven Teares. A thorough theoretical analysis John Dowland’s Seaven Teares. A thorough theoretical analysis Rodolfo Raphael Moreno Martínez John Dowland’s Seaven Teares. A thorough theoretical analysis Primera edición 2017 D.R. © Universidad Autónoma de Aguascalientes Av. Universidad 940, Ciudad Universitaria Aguascalientes, Ags., 20131 http://www.uaa.mx/direcciones/dgdv/editorial/ © Rodolfo Raphael Moreno Martínez ISBN 978-607-8523-52-8 Hecho en México Made in Mexico Índice Acknowledgments 9 Introduction 11 Chapter I. Biography and Historical Considerations 15 Chapter II. Analysis: Form 19 Chapter III. Analysis: Textural Denseness 23 Chapter IV. Analysis: Cadential Articulations. 27 A) Analysis: Teoretical and historical considerations 27 B) Analysis: Sectional Final Cadences 35 C) Analysis: Intermediate Cadences 39 Chapter V. Analysis: Motif Manipulation 49 A) Analysis: Stationary Motif Technique 52 B) Analysis: Migrating Motif Technique 59 Chapter VI. Analysis: Motif Imitation, Textural Density, and Cadential Articulation 63 Conclusions 73 Bibliography 77 Primary Sources 77 Secondary Sources 80 Recordings 82 Acknowledgments In the process of producing the content of this book, I estab- lished fruitful professional and collaborative relations that en- riched my professional, academic, and creative life. Terefore I specially wish to thank Professor Peter N. Schubert, from whom I learnt a lot, for his careful and meticulous guidance on the topic and acute suggestions for large part of this work during my Masters at McGill University. I am indebted too to Professor Rachell Chiasson Taylor for her support and valuable feedback that helped me improve my work.
    [Show full text]
  • 2019/20 Season
    2019/20 SEASON APRIL - JULY 2020 2 • Director’s Introduction • 3 We are looking forward to a summer packed full of fun, ambitious and exceptional performances. Leading soprano Roberta Invernizzi gathers a host of friends to celebrate women Baroque composers in April, while acclaimed Norwegian pianist Leif Ove Andsnes returns for his second appearance in the season, performing a solo recital for two evenings in a row. Wigmore Hall continues to champion contemporary composers and emerging artists, and in May we combine the two endeavours in a Composer in Focus day featuring musicians from the Royal Northern College of Music. Saturday 9 May will spotlight the work of ‘the renaissance woman of contemporary British music’, Errollyn Wallen. Further explorations of the music of Britten, Brahms and Beethoven thread through the summer programme, including the culmination of Jonathan Biss’ Beethoven sonata cycle, a concert dedicated to Britten’s Canticles with Allan Clayton, Iestyn Davies and others, and more Brahms from the Castalian String Quartet, joined in April by Nils Mönkemeyer and Ursula Smith. Sir András Schiff will lecture on and perform Schubert’s D960 in April and Beethoven’s final piano sonatas in June.Rachel Podger continues her focus on Bach in her residency, and the wonderful Concertgebouw Winds with Jeroen Bal on piano presents a BBC lunchtime concert at the end of April. Les Talens Lyriques presents a programme of love songs with renowned tenor Julian Prégardien in May, followed less than a week later by Lionel Meunier’s ensemble Vox Luminis and a programme featuring more Britten – his Hymn to St Cecilia and Sacred and Profane top and tail the performance.
    [Show full text]
  • Thematic Index Music for Viols
    THE VIOLA DA GAMBA SOCIETY OF GREAT BRITAIN THEMATIC INDEX OF MUSIC FOR VIOLS On-Line Edition 2008 Update: July 2021 COMPILED BY GORDON DODD WITH REVISIONS AND ADDITIONS BY ANDREW ASHBEE CONTENTS Introduction 3 Acknowledgements 3 Key 6 Select Bibliography 8 Author Index for Bibliography 29 Sources (Introduction) 33 Early Editions and Facsimiles 35 Publishers and Modern Editions 51 Manuscripts in British Libraries 58 Manuscripts I Libraries outside Britain 70 Index of Composers 82 Revised and New Pages added since 2004 86 file 02 Anon (a) (staff notation) /2: two-part works A-2BC: works for treble/violin, bass viol and organ/continuo /3 three-part works four-part works five-part works six- and seven-part works A-B2: works for two or more bass viols A-BA: works for bastarda A-B1: works for solo bass viol A-B/Bc: works for solo viola da gamba and continuo/bass A-CS: consort songs A-DI: Divisions on a ground file 03: Anon (with introduction); tablature tunings beginning with ‘d’ file 04: Anon; tablature tunings beginning with ‘e’ file 05: Anon; tablature tunings beginning with ‘f’ file 06: Select tables: Hengrave Hall MSS; Le Strange MSS; Playford A (= airs, staff notation); Playford T (= tablature pieces); AB = Playford, Apollo’s Banquet (1st series) Index of Composer Names files A-Z: Alphabetical Index by Composer INTRODUCTION (by Gordon Dodd) Indexing within the Viola da Gamba Society began with the gift by Robert Donington of the card index which he had assembled while writing his thesis on English instrumental music,1 and which was maintained by Nathalie Dolmetsch until, in 1965, the material was entrusted to Gordon Dodd.
    [Show full text]
  • BYRD 1588 Psalmes, Sonets & Songs of Sadnes and Pietie
    BYRD 1588 Psalmes, Sonets & songs of sadnes and pietie Grace Davidson SOPRANO Martha McLorinan MEZZO-SOPRANO Nicholas Todd TENOR ALAMIRE FRETWORK DAVID SKINNER BYRD 1588 Original order in 1588 publication DISC TWO Psalmes, Sonets & songs of sadnes and pietie noted in square brackets Psalms William Byrd (1543–1623) 1. Even from the depth [10] [1:48] Grace Davidson, soprano 2. Blessed is he that fears the Lord [8] [3:51] Martha McLorinan, mezzo-soprano DISC ONE 3. How shall a young man prone Nicholas Todd, tenor to ill [4] [2:24] Psalms 4. Help Lord for wasted are Fretwork 1. O God give ear [1] [3:50] those men [7] [4:56] Alamire, directed by David Skinner 2. Mine eyes with fervency of 5. Lord in thy wrath reprove me not [9] [4:04] sprite [2] [3:48] 3. My soul oppressed with care Sonnets and pastorals and grief [3] [2:22] 6. Though Amaryllis dance 4. O Lord how long wilt thou forget [5] [3:48] in green [12] [5:53] 5. O Lord who in thy sacred tent [6] [4:00] 7. Constant Penelope [23] [2:30] 8. I joy not in no earthly bliss [11] [3:40] Sonnets and pastorals 9. As I beheld I saw a 6. O you that hear this voice [16] [6:15] herdman wild [20] [4:59] 7. Ambitious love [18] [2:29] 10. Where fancy fond [15] [5:19] 8. Although the heathen poets [21] [1:10] 11. What pleasure have great 9. My mind to me a kingdom Is [14] [6:02] princes [19] [4:47] 10.
    [Show full text]
  • Buxtehude Membra Jesu Nostri
    Buxtehude Membra Jesu nostri Emma Kirkby soprano The Purcell Quartet Elin Manahan Thomas soprano Michael Chance counter-tenor Charles Daniels tenor Peter Harvey bass Fretwork CHANDOS early music Autograph title page of Buxtehude’s ‘Membra Jesu nostri’ Dietrich Buxtehude (c. 1637–1707) Membra Jesu nostri, BuxWV 75* 65:15 I. Ad pedes 1 1 Sonata 0:45 2 2 Tutti. Ecce super montes 1:14 3 3 Aria. Salve mundi salutare 4:59 4 4 Tutti. Ecce super montes 1:16 5 5 Tutti. Salve mundi salutare 0:59 II. Ad genua 6 6 Sonata in tremulo 1:04 7 7 Tutti. Ad ubera portabimini 1:34 8 8 Aria. Salve Jesu, rex sanctorum 3:44 9 9 Tutti. Ad ubera portabimini 1:39 III. Ad manus 10 10 Sonata 0:56 11 11 Tutti. Quid sunt plagae istae 1:58 12 12 Aria. Salve Jesu, pastor bone 5:07 13 13 Tutti. Quid sunt plagae istae 2:15 IV. Ad latus 14 14 Sonata 0:26 15 15 Tutti. Surge, amica mea, speciosa mea 1:44 16 16 Aria. Salve latus salvatoris 4:40 17 17 Tutti. Surge, amica mea, speciosa mea 1:58 3 V. Ad pectus 18 18 Sonata 0:40 19 19 Voci. Sicut modo geniti infantes rationabiles 2:20 20 20 Aria. Salve, salus mea, Deus 5:21 21 21 Voci. Sicut modo geniti infantes rationabiles 2:40 VI. Ad cor 22 22 Sonata 1:48 23 23 Doi Soprani è Basso. Vulnerasti cor meum 2:21 24 24 Aria. Summi Regis cor, aveto 3:04 25 25 Doi Soprani è Basso.
    [Show full text]
  • In Nomine II Here It Is from the Parsons 7-Part in Nomine No
    In Nominefretwork II There are several important moments in the tune. In Nomine II Here it is from the Parsons 7-part In nomine No. 5: ver thirty years ago, Fretwork made 1. Slow (In Nomine in 5 parts) Nico Muhly (b.1981) 8.12 its first recording – well, technically speaking it was the second album Robert Parsons (1535-1572) 2.29 2. In Nomine IV in 7 parts to be recorded, but the first to be released – and it was called ‘In 3. In Nomine V in 7 parts Robert Parsons 3.03 Onomine’, which consisted mainly of 16th-century 4. In Nomine in 11/4 John Bull (c.1562-1628) 5.37 examples of this remarkable instrumental form. 5. Proportions to the minim John Baldwin (1560-1615) 2.31 While this isn’t an anniversary of that release, we want to look both back to that first release and 6. Upon In Nomine 1592 John Baldwin 1.36 forward, to bring the genre up to date. There were The opening rising and falling third is often imitated; several examples of the In nomine and related The sixth and seventh notes moves the tonality away 7. In Nomine 1606 John Baldwin 2.19 forms that we didn’t or couldn’t record in 1987, from the opening D into F; At the end of the second and this album seeks to complete the project. line here, it reaches its highest point and then (third 8. In Nomine in 6 Parts, No. 1 Alfonso Ferrabosco II (1575-1628) 3.45 note, third line) we have a semi-tone rise and fall, The form was created unwittingly by John Taverner one of only two in the tune.
    [Show full text]