DOCSLIB.ORG

555314-16 Bk Monteverdi EU

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
555314-16 Bk Monteverdi EU DAS GLOGAUER LIEDERBUCH (The Glogau Song Book) Songs, Comic Tales and Tails Sabine Lutzenberger, Soprano Martin Hummel, Baritone Marc Lewon, Lute Ensemble Dulce Melos Suite XI DAS GLOGAUER LIEDERBUCH § In feuers hitz (GLOG 221) (THE GLOGAU SONG BOOK) Ach reine zart (GLOG 243) Mole gravati criminum (GLOG 221) 3:59 Suite I Suite XII 1 Christ der ist erstanden (GLOG 124) 0:38 ¶ Der entrepris (GLOG 102) 2:21 2 Christ ist erstanden (GLOG 127) 0:47 3 Christ ist erstanden (GLOG 94) 1:09 Suite XIII • Lætare, Germania (GLOG 21) 1:08 Suite II ª Elslein, liebstes Elselein (GLOG 250) 2:18 4 Der ratten schwanz (GLOG 113) 1:57 Suite XIV Suite III º Auf rief ein hübsches freuelein (GLOG 251) 1:06 5 In præclare Barbaræ (GLOG 237) ⁄ Zenner, greiner, wie gefelt dir das (GLOG 88) 0:38 Beth – O wie gern (GLOG 285) O wie gern und doch entbern (GLOG 237) 4:09 Suite XV ¤ Groß senen / [Jʼay pris amours] (GLOG 286) 1:15 Suite IV ‹ Die welt, die hat einen tummen sin (GLOG 256) 4:15 6 Es solt ein man kein möle farn (GLOG 80) Rom peltier (ODH 25) 1:11 Suite XVI 7 All voll (GLOG 183) 1:09 › Die katzenpfote (GLOG 13) 1:05 fi [untitled] (GLOG 100) 3:12 Suite V 8 Der morgenstern, der ist uns aufgedrungen (GLOG 253) 2:02 Suite XVII 9 Ich sachs eins mals, den lichten morgensterne (GLOG 189, 53) 2:49 fl Nu bitten wir den heiligen geist (GLOG 123) 1:36 0 Die nacht, die wil verbergen sich (GLOG 249) 2:39 Suite XVIII Suite VI ‡ Der vöglein art (GLOG 217) 2:39 ! Der seiden schwanz (GLOG 8) 1:11 @ Zu aller zeit (GLOG 224) 3:01 Suite XIX ° Die eselskrone (GLOG 147) 1:44 Suite VII # Elende du hast umfangen mich (GLOG 134) 2:55 Suite XX · Tärste ich mit libe kosen (GLOG 220) 1:47 Suite VIII ‚ Ach got, wie ser zwingt mich die not (GLOG 252) 1:49 $ O rosa bella (1. Str., CORD 7) 1:58 a Der wächter an der zinnen (GLOG 248) 0:59 % O rosa bella (BUX 103) 1:50 ^ O rosa bella / In feuers hitz (GLOG 119) 1:37 The Early New High German sung texts, along with Modern German and English translations, & O rosa bella (BUX 39) 1:30 can be accessed at www.naxos.com/libretti/572576.htm * O rosa bella / Hastu mir die laute bracht (GLOG 117) 1:32 ( O rosa bella / Hastu mir die laute bracht (diminutions by Uri Smilansky) 1:46 ) O rosa bella / Wer da sorget (GLOG 118) 1:34 Abbreviations of Sources: ¡ O rosa bella (BUX 104) 1:30 ™ O rosa bella (2. Str., TR89 575) 1:45 GLOG = Glogauer Liederbuch / Glogau Song Book (Kraków, Biblioteka Jagiellońska, Ms. Mus 40098) Suite IX BUX = Buxheimer Orgelbuch / Buxheim Organ Book (Munich, Bayerische Staatsbibliothek, Cim. 352b) £ Ich bins erfreut (GLOG 246) ODH = Harmonice musices odhecaton A (Venice: Ottaviano Petrucci, 1501) Die libe ist schön (GLOG 227) 2:59 CORD = Chansonnier Cordiforme (Paris, Bibliothèque Nationale de France, Rothschild 2973 (I.5.13)) TR89 = Trent Codex 89 (Trento, Castello de Buonconsiglio, Monumenti e Collezioni Provinciali, (formerly MS 89) MS 1376. Suite X ¢ Der pfauen schwanz – Paulus de Broda (GLOG 22) 1:52 The abbreviations of the sources are according to David Fallows: A Catalogue of Polyphonic Songs, 1415-1480, Oxford: ∞ Der pfauen schwanz (GLOG 208) 0:54 University Press, 1999. The numbers following these abbreviations refer to the number of the piece in the source indicated as listed in the standard editions (e.g. GLOG 124 = Glogauer Liederbuch, piece number 124). Martin Hummel, Baritone The Glogau Song Book 135-7 @ ^ * ) £ § º ⁄ ‹ ‡ ‚ Songs, Comic Tales and Tails The musical history of central Europe contains an who usually played from memory, but educated Sabine Lutzenberger, Soprano abundance of forgotten treasures, among them the music enthusiasts or students, who could read mensural 2 3 7 9 $ ^ ) ™ • ª fl of the Glogauer Liederbuch. This manuscript contains 292 notation. Iconographical evidence for this practice is still songs, devotional chants, and instrumental pieces, which quite rare in the fifteenth century; illustrations after 1500 Ensemble Dulce Melos served a small monastic community in Lower Silesia as mostly show well dressed ladies and gentlemen, who daily entertainment around the year 1480. It was also have gathered to play and sing at a ʻprivateʼ concert. Yukiko Yaita used for Sunday worship – apparently it did not make Shortly after 1500 the first printed part-books appeared in Recorder 3 4 6 7 # % ¢ ∞ ¶ º ⁄ ‡ ° much difference. The collection itself tells of a joy in Italy and southern Germany. private music-making which has become rare today. Our three part-books were essentially written by a Chekker 8 ! ¡ ™ § › The pervading tone is quite intimate. Almost all the single hand. Expertise and care are evidenced in the Margit Übellacker pieces are in three parts, to be performed on three string unvaryingly clear writing, the inclusion of a precise instruments or sung in the registers SAT or ATB, also alphabetical index and the distinct marking of separate Dulcemelos 1 6 8 ! ¡ £ ¢ § ⁄ ‹ › ‚ a transposed or mixed for voices and instruments, if numbers, often by coloured initials. The music notation is Hackbrett &™ ª necessary. Many of the numbers, especially the songs remarkably competent. Who was this scribe and producer with texts, are very short, as if they should only be taken of the manuscript, and who were its first users? Elizabeth Rumsey as an inducement for longer improvisation. Additional The Glogauer Liederbuch was found and first Renaissance gamba 1-3 5-7 0 @ # ^ * ) ™ £ ∞ § •-¤ fi-a verses, often missing in the manuscript, might be sung described in 1874 in the Berlin Royal Library. The name from memory. The collection contains many settings of Glogauer Liederbuch was given to it later, because it $% ( ™ Viola dʼarco songs which were popular at the time, the well-known contains a note, written in the sixteenth century, which Uri Smilansky main melody of which was to be performed in the upper describes the cathedral of Glogau (Głogów) as its owner. register (discantus) or by the main voice in the middle It has long been thought that the manuscript originated in Viola dʼarco 2-7 0 @ # % ( ¢ ∞ ¶-¤ fi fl ° · a register (tenor), while the other voices contribute Glogau and might have belonged to the townʼs grammar Marc Lewon counterpoint, ornament, and harmonic accompaniment. school. The manuscript disappeared after 1945, but re- Some of the melodies occur several times in different emerged in 1977 in the Biblioteka Jagiellońska of Kraków, Plectrum lute 4 8 9 ! & ¢-¶ ‹ ° contrapuntal arrangements. The pieces are not ordered where it is kept today. A complete edition in four volumes Gittern *¡ £¤ ›‡ by genre or function, much less by sacred or secular and a facsimile edition have been published. Viola dʼarco 5 0 $ ™ fi · content; rather, they are set down as a colourful mixture. As early as the 1930s there had been speculation The performers sang or played all over the place, as it that the manuscript might have a connection to a certain Renaissance guitar 6 ⁄ were, enjoying the change and recurrence of musical clerical user, Andreas Ritter (ca. 1445-1480) from forms. Grünberg (Zielona Góra). This is because a humorous Instruments and Makers: It is important to recognize that the Liederbuch does and satirical motet in the volume (Probitate eminentem), not consist of a single volume, but of three separate part- composed by the Bohemian musician Petrus Wilhelmi de Marc Lewon: Plectrum lute – Stephen Gottlieb, London (UK) 2001; Gittern – George (Philip) Stevens, Lydd (UK) 2004 books (descant, tenor, contratenor). The Glogauer Grudencz (b. 1392), refers to him. It can, of course, not be Viola dʼarco – Richard Earle, Basel (CH) 2009; Renaissance guitar – Julian Behr, Wyhlen (D) 2005 Liederbuch is the oldest known set of part-books from discounted that Wilhelmi wrote the motet on somebody Yukiko Yaita: Tenor recorder – Francesco Li Virghi, Orte (I) 2003; Renaissance alto recorder – Yukiko Yaita, Yokohama (JP) 1998 central Europe. This form of music book was meant for a else and that the name of Andreas Ritter was only Chekker – Martin Gust, Windhorst (D), 2001 small group of equal musicians, not for a cathedral chapel substituted in the text of our manuscript, but the ironical Margit Übellacker: Dulcemelos – Bernd Maier, Freiburg (D) 2003; Hackbrett – Alfred Pichlmaier, Fraunberg (D)1993 or an instrumental ensemble at court; the music was not statements in the motet, concerning this ʻoutstanding Elizabeth Rumsey: Renaissance gamba – Robert Foster, Wiveliscombe (UK) 2001; Viola dʼarco – Richard Earle, Basel (CH) 2005 played from memory, but read from the part-book. The gentlemanʼ, tally strikingly with Ritterʼs known biography. Uri Smilansky: Viola dʼarco – Richard Earle, Basel (CH) 2007 users were musical amateurs: not professional musicians, He was said to have been just as fond of alcohol and women as he was of the monastic life. Ritter was engaged regina celorum, mater regis angelorum, which was to be II. The collection contains several pieces known as VI. This group is set in the Lydian mode. The German at Glogauʼs cathedral school until ca. 1465, and then sung regularly in the monastery by the pupils of the city ‘Schwanz’, i.e. tail, which probably designates them as strophic song Zu aller Zeit [Always] – a so-called ʻcourtly became canon at the Augustinian collegiate foundation in school, according to the foundation script, turns out to be dances (‘schwanzen’ was a word derivation of ‘tanzen’, songʼ – is given with its full text, which is added to from Sagan (Żagań). Grünberg, Glogau, and Sagan are the famous antiphon of the same title by the Englishman i.e.
Load more

Recommended publications
  • Le Jeu De La Feuillée. Édité Par Ernest Langlois
    .' »( 1411 ,33 1923 Presented to the LIBRARY oj the UNIVERSITY OF TORONTO IN MEMORY 0? PROFESSOR H. L. HUMPHREYS t\^ LES CLASSIQUES FRANÇAIS DU MOYEN AGE publiés sous la direction de Mario Roques ADAM LE BOSSU TROUVÈRE ARTÉSIEN DU XIII- SIÈCLE LE JEU DE LA FEUILLÉE ÉDITÉ PAR ERNEST LANGLOIS DEUXIÈME ÉDITION REVUE PARIS LIBRAIRIE ANCIENNE HONORÉ CHAMPION, ÉDITEUR QUAI (vi') 5, MALAQUAIS ^ 1923* 6* LES CLASSIQUES FRANÇAIS MOYEN AGE COLLECTION DE TEXTES FRANÇAIS ET PROVENÇAUX ANTÉRIEURS A i5oo FONDÉE EN I9IO PAR Mario ROQUES Pour paraître en i g23 : Première série : Textes. La Queste DEL Saint Graal, éd. par Albert Pauphilet. Chrétien de Troies et ses continuateurs, Perceval, éd. par Mary Williams : la continuation de Gerbert de Mon- treuil, t. II. Galeran de Bretagne, éd. par Lucien Foulet. AucASSiN et Nicolette, éd. par Mario Roques. Jong^leurs^et troubadours gascons, éd. par Alfred Jean- ROY. Henaut de Beaujeu, Le Bel Inconnu, éd. par G. Perrie Williams. Le Roman de Troie en prose, éd. par L. Constans et E. Faral, t. II. Alain Chartier, Le Quadrilogue invectif, éd. par Eugé- nie Droz. Charles d'Orléans, Poésies, éd. par Pierre Champion. Maître Pierre Pathelin, éd. par R. T. Holbrook. Le Poème de Sancta Fides, éd. par Antoine Thomas. Robert de Clari, Prise de Constantinople, éd. par Phi- lippe Lauer. Deuxième série : Manuels. Petite syntaxe du moyen français, par Lucien Poulet» La musique du moyen âge, par Th. Gerold. LES CLASSIQUES FRANÇAIS DU MOYEN AGE publies sous !a direction de Mario Roques ADAM LE BOSSU TROUVÈRE ARTÉSIEN DU XIII< SIÈCLE LE JEU DE LA FEUILLÉE ÉDITÉ PAR ERNEST LA.NGL01S DEUXIÈME ÉDITION REVUE PARIS LIBRAIRIE ANCIENNE HONORÉ CHAMPION, ÉDITEUR 5, QUAI MALAQUAIS (vi^) 1923 ' "fzz INTRODUCTION I.
    [Show full text]
  • Songs in Fixed Forms
    Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.
    [Show full text]
  • Chapter 2: Secular and Cathedral Music in the High Middle Ages I
    Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
    [Show full text]
  • Sachgebiete Im Überblick 513
    Sachgebiete im Überblick 513 Sachgebiete im Überblick Dramatik (bei Verweis-Stichwörtern steht in Klammern der Grund­ artikel) Allgemelnes: Aristotel. Dramatik(ep. Theater)· Comedia · Comedie · Commedia · Drama · Dramaturgie · Furcht Lyrik und Mitleid · Komödie · Libretto · Lustspiel · Pantragis­ mus · Schauspiel · Tetralogie · Tragik · Tragikomödie · Allgemein: Bilderlyrik · Gedankenlyrik · Gassenhauer· Tragödie · Trauerspiel · Trilogie · Verfremdung · Ver­ Gedicht · Genres objectifs · Hymne · Ideenballade · fremdungseffekt Kunstballade· Lied· Lyrik· Lyrisches Ich· Ode· Poem · Innere und äußere Strukturelemente: Akt · Anagnorisis Protestsong · Refrain · Rhapsodie · Rollenlyrik · Schlager · Aufzug · Botenbericht · Deus ex machina · Dreiakter · Formale Aspekte: Bildreihengedicht · Briefgedicht · Car­ Drei Einheiten · Dumb show · Einakter · Epitasis · Erre­ men figuratum (Figurengedicht) ·Cento· Chiffregedicht· gendes Moment · Exposition · Fallhöhe · Fünfakter · Göt• Echogedicht· Elegie · Figur(en)gedicht · Glosa · Klingge­ terapparat · Hamartia · Handlung · Hybris · Intrige · dicht . Lautgedicht . Sonett · Spaltverse · Vers rapportes . Kanevas · Katastasis · Katastrophe · Katharsis · Konflikt Wechselgesang · Krisis · Massenszenen · Nachspiel · Perioche · Peripetie Inhaltliche Aspekte: Bardendichtung · Barditus · Bildge­ · Plot · Protasis · Retardierendes Moment · Reyen · Spiel dicht · Butzenscheibenlyrik · Dinggedicht · Elegie · im Spiel · Ständeklausel · Szenarium · Szene · Teichosko­ Gemäldegedicht · Naturlyrik · Palinodie · Panegyrikus
    [Show full text]
  • Autobiography in the Songs of Hugo Von Montfort and Oswald Von Wolkenstein
    Almut Suerbaum Paradoxes of performance: Autobiography in the songs of Hugo von Montfort and Oswald von Wolkenstein 1 Performance and its status in medieval lyric has been the subject of lively scholarly debate in the last few years.1 From a position in which literary interpretations were solely concerned with the transmitted words as texts, scholarly consensus of the last decade has shifted towards regarding words as mere dry bones, highlighting that music and gesture were an integral part of the poetic oeuvre. Yet the centrality of the non-linguistic elements of such works poses methodological problems, and any assessment of the status of courtly lyric within a semi-oral culture is difficult,2 because much about the external circumstances remains unknown and perhaps irrevocably unknowable. Some facts about the works with which we are concerned here can nevertheless be stated: courtly love lyric in Germany was, for the most part, ‘performed’ in the literal sense, at least initially, so that we are dealing with texts intended to be sung, and indeed performed, to an audience. They were therefore, it seems, conceived as an ensemble of words and music, realized by a singer in front of an aristocratic audience. At the same time, most courtly love lyric employs a lyric ‘I’ which is not normally named or identified, thus offering a generic ‘I’ which is in principle open to all listeners, while at the same time _____________ 1 For the debate in Germany, the volume ‘Aufführung’ und ‘Schrift’ in Mittelalter und früher Neuzeit, ed. by Jan-Dirk Müller, Stuttgart 1996, remains central; cf.
    [Show full text]
  • Unfolding the Rondeau: Form and Meaning in Early 15Th-Century Chansons Elizabeth Randell Upton
    Unfolding the Rondeau: Form and Meaning in Early 15th-century Chansons Elizabeth Randell Upton 1. Musicological Values and What Musicology Values It’s no longer news: much that 20th century musicologists considered to be objective and scientific, especially with regards to musical analysis, was rife with unexamined subjectivity. Since the early 1990s, scholars such as Rose Subotnik, Gary Tomlinson, Richard Taruskin, Lawrence Kramer and Susan McClary have uncovered and discussed what Janet M. Levy termed “Covert and casual values” in musicological writing. But much work still remains to be done. 2. The Formes Fixes Problem Discussions of the formes fixes chansons—ballades, rondeaux, and virelais—of the fourteenth and fifteenth centuries clearly demonstrate how non-paradigmatic musical works can suffer when examined with 20th century analytical techniques developed to discuss 18th and 19th century German orchestral and instrumental music. Analysts of formes fixes chansons have tried to explain the appeal of these songs in “acceptable” terms: they found seed-like motives (especially in Machaut’s works) that grow throughout a piece, and they discussed the various ways a composer could unify a song into an organic whole. But nothing could be done to salvage the biggest problem with these songs: their formal structures, the defining element for us, are fixed. By definition, a formes fixes chanson can not develop, it “merely” repeats sections of music already heard, in some predetermined pattern. And, if the situation weren’t bad enough already, the poetry for these songs concerns itself mostly with what is generally seen as trite, stereotypical courtly love themes. Discussions of the formes fixes chansons in music history textbooks are largely taxonomies, concerned with describing the musical and poetic structures and documenting any variations.
    [Show full text]
  • Colour-Symbolism in the Troubadour Marcabru and His Followers
    Colour-symbolism in the troubadour Marcabru and his followers Richard Goddard A number of articles and chapters of books exist on different types of colour-symbolism from diverse branches of medieval culture, from both secular and sacred worlds, and from a variety of different regions and different periods. The two most. widely-ranging pieces on this subject to date, W. Wackernagel's 'Die Farben- und Blumensprache des Mittelalters'l and P. Dronke's 'Tradition and Innovation in medieval Western Colour-Imagery',' respectively take Middle High Gennan and Medieval Latin as their base languages. Wackemagel, the more comprehensive of the two, examines the often contradictory moral and other abstract significances attached, among others, to the colours of hair, the complexion and the humours, to liturgical and lay clothing. to banners and shields, gem-stones and flowers. P. Dronke, more selective and orientated rather towards literature and learning, concentrates his discussion on the purely artistic use of colour (in an Old Irish epic), on the gradual formalisation of certain types of colour-symbolism, such as that in liturgical vestments, heraldic fashion and the twelve stones of the heavenly Jerusalem, and on the imagery of blood and snow in a famous passage in the Perceval/Parzival legend. Neither mentions Occitan literature and culture;} and no other medieval colour-symbolism which has so far been discussed in print seems to be comparable in choice of colours and meaning with that which I shall illustrate here from the lyric of Marcabru and his successors. a) Vai,. and pic in the satire of Marcabru Perhaps the most unusual of the moralised colour-terms in the satirical verse of the troubadour Marcabru are the pair vair and pic.
    [Show full text]
  • O Rosa Bella
    95529 O Rosa Bella Mass by Gilles Joye and Chansons by Dunstable and Bedyngham ENSEMBLE DIONEA · ENSEMBLE NOVA ALTA O Rosa Bella Mass by Gilles Joye and Chansons by Dunstable and Bedyngham John Bedyngham c.1422 - 1460 Gilles Joye Ensemble Dionea 1. O Rosa bella T.89, ff. 119v 3’54 Missa Super O Rosa bella Jung Min Kim soprano, medieval lute 7. Gloria T.90, ff. 421v-423r 6’15 Teodora Tommasi soprano, gothic harp, recorder Anonymous 8. Credo T90, ff. 423v-426r 9’10 Serena Leonardi fiddle, recorder 2. O Rosa bella o dulz anima mia T.90, ff. 369v 3’07 John Dunstable c.1390 - 1453 Ensemble Nova Alta 9. O Rosa bella David Brutti cornetto, recorder · Andrea Angeloni trombone, tromba da tirarsi Gilles Joye c.1420 - c.1483 T.90, ff. 362v-363r 1’57 Stefano Bellucci & Pierluigi Bastioli trombone 3. Missa Super O Rosa bella: Danilo Tamburo counter tenor, trombone Kyrie T.90, ff. 421r 10’49 John Bedyngham 10. O Rosa bella, Concordancie Andrea Gavagnin cantus · Jonatas Monteiro cantus · Matteo Zenatti tenor Alan Hert (XV sec.) o rosa bella cum alius tribus... Enrico Maronese tenor · Stefano Maffioletti counter tenor 4. O Rosa bella T.89, ff. 119v-120r 1’56 Nicola di Filippo counter tenor T.90, ff. 444v- 445r 4’00 Gilles Joye Claudia Caffagni conductor on “Missa super O Rosa bella” by Gilles Joye Johannes Ockeghem? Missa Super O Rosa bella c.1410/1425 - c.1494 11. Sanctus T.90, ff. 426v-427r 6’27 T.89 I-TRbc 1376 Codex Trento 89 5.
    [Show full text]
  • The Mancini Codex : a Manuscript Study
    .. i l "q-w T}IE MANCINI CODEX : A MANUSCRIPT STUDY by Carol J. Williams B. Mus (Hons) A thesis submitted in fulfilnent of the requirements for the degree of Doctor of Philosophy in the- Faculty of Music at the University of Adelaide. August,19B3 ii . ( ¡!,..,r.t, {,\ i,., ilti VOLI.JME III CONTENTS Preface i I Madrigal Sources I Origin 5 Form 8 Ballata Sources T2 0rigin 15 Forrn I9 Rondeau Sources 32 Origin 34 Form 38 Ba1 lade Sources 43 Origin 44 Form 48 Virelai Sources 52 Origin 53 Form 56 II Man. 1 La douce ciere 59 Man. 2 Dueil angoisseux 62 Man. 3 Serva ciaschuno 63 Man. 4 Rechordete de me 64 Man. 5 Zoya de novi odori 6s Man. 6 Per un verde boschetto 67 Man. 7 La sacrosancta karita 68 Man. 8 Perche cangiato 70 Man. 9 Le aurate chione t5 Man. 10 Senpre'donna t ramay--- --:-----: 75 Man. 11 Non chorrer troppo 77 Man. L2 La bel1e flour 7B Man. I3 Mal vi loyaute 79 Man. I4 Mon bel any corteus 81 Man. 15 Mon bel amy mon confort 82 Man. 16 Merçi pour dieu 83 Man. 77 Loiñgtenps j'ay mis 85 Man. 18 Va pur amore 86 Man. 19 Donna srittto fallito 87 Man. 20 Con lagreme bagnandone 89 Man. 2I Ave vergene 92 Man. 22 La fianma del to amor 93 Man. 23 Donna posso io sperare 94 Man. 24 Rosetta che non cambi 97 Man. 25 Un fior gentil 98 'Man. 26 Deus deorun pluto 99 Man. 27 Arnor ne tossa 101 Man.
    [Show full text]
  • The Anglo-Norman Courtly Lyric
    Quidditas Volume 7 Article 4 1986 The Anglo-Norman Courtly Lyric Carol J. Harvey University of Winnipeg Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Harvey, Carol J. (1986) "The Anglo-Norman Courtly Lyric," Quidditas: Vol. 7 , Article 4. Available at: https://scholarsarchive.byu.edu/rmmra/vol7/iss1/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. JRMMRA 7 (1986) The Anglo-Norman Courtly Lyric by Carol J. Harvey University of Winnipeg Whereas many works of a religious or moral nature survive from the Anglo-Norman era, secular lyric poetry was until quite recently virtually unknown. 1 Isabel S. T. Aspin's Anglo-Norman Political Songs2 provided the first, and to date the only, readily-accessible modern edition of secular lyrics. 3 This collection of political poems and satires shows that the author of occa­ sional verse is not only interested in singing the praises of the Blessed Virgin Mary or adapting parts of the liturgy into the vernacular; he is moved also to sing of the corruption of state or church, to lament the death of the noble departed, or to applaud the death of a traitor. Many other secular poems were discussed in M. Dominica Legge's Anglo-Norman Literature and its Back­ ground, 4 which further demonstrated that the Anglo-Norman temperament was not always inclined to be serious and utilitarian and that the Anglo­ Norman poet might even on occasion turn to thoughts of love.
    [Show full text]
  • Aspects of the Performative in Medieval Culture Trends in Medieval Philology
    Aspects of the Performative in Medieval Culture Trends in Medieval Philology Edited by Ingrid Kasten · Niklaus Largier Mireille Schnyder Editorial Board Ingrid Bennewitz · John Greenfield · Christian Kiening Theo Kobusch · Peter von Moos · Uta Störmer-Caysa Volume 18 De Gruyter Aspects of the Performative in Medieval Culture Edited by Manuele Gragnolati · Almut Suerbaum De Gruyter ISBN 978-3-11-022246-3 e-ISBN 978-3-11-022247-0 ISSN 1612-443X Library of Congress Cataloging-in-Publication Data Aspects of the performative in medieval culture / edited by Manuele Gragnolati, Almut Suerbaum. p. cm. Ϫ (Trends in medieval philology, ISSN 1612-443X ; v. 18) Includes bibliographical references and index. ISBN 978-3-11--022246--3 (print : alk. paper) ISBN 978-3-11--022247--0 (e-book) 1. Literature, Medieval Ϫ History and criticism Ϫ Theory, etc. 2. Authorship Ϫ History Ϫ To 1500. 3. Civilization, Medieval. 4. Philosophy, Medieval. I. Gragnolati, Manuele. II. Suerbaum, Almut. PN88.A77 2010 8011.9510902Ϫdc22 2010005460 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ” 2010 Walter de Gruyter GmbH & Co. KG, Berlin/New York Printing: Hubert & Co. GmbH & Co. KG, Göttingen ϱ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The current volume is the result of close collaboration between a group of colleagues who discovered in the course of college lunches that we shared more than day-to-day responsibility for undergraduate teaching. Indeed, once we started discussing our research interests in a series of informal and more structured workshops and colloquia, it became evident that notions of performance had a bearing on what at first sight seemed quite diverse subjects and disciplines.
    [Show full text]
  • Medieval Terms
    Medieval Terms Ars antiqua: ("The old art") A term used to describe the musical style period of France from 1150 to 1300 (Perotin, etc.). Ars cantus mensurabilis: This treatise written in c1260 by Franco of Cologne introduced the first notation system of long and short notes and rests (long and breve)--known as Franconian notation or mensural notation. Ars nova: ("The new art") A term used to identify the experimental musical style period of France from approximately 1300-1375 (DeVitry, Machaut, etc.). Ars subtilior: ("The subtle art") A term used to describe the highly expressive musical style period of France in the late 1300s/early 1400s (Baude Cordier, etc.). Church Modes: The term for the system of eight "octave species" (dorian, phrygian, lydian, mixolydian, hypodorian, hypophrygian, hypolydian, hypomixolydian) formulated originally for the purpose of organizing the repertory of Gregorian chant. Formes fixes: ("Fixed forms") The three French poetic forms that were the primary song forms of the Ars Nova [see "The Structure of the Formes Fixes and the Ballata"], see also the entries for ballade, virelai, rondeau in "Medieval Genres", below]. Isorhythm: ("The same rhythm") A compositional device usually applied to the Tenor of a polyphonic work, featuring a repeated "talea" (rhythmic pattern) and "color" (melodic pattern). Used by DeVitry, Machaut and other French Ars Nova composers. Melisma: Many notes sung on a single syllable of text to put emphasis on that word. Monophonic: A musical texture with one melody played or sung at a time with no harmony. Musica enchiriadis: This writing, dating from c900, is the earliest known treatise to describe polyphonic music.
    [Show full text]