Three Explorations Into Unknown Territory Three Explorations Into Unknown Territory

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Three Explorations Into Unknown Territory Three Explorations Into Unknown Territory

Three explorations into unknown territory directordirector:: Paul Van Nevel ExploratiExplorationononon I:I:I: Mabrianus de Orto (Tournai ca.1460 - Nivelles 1529): Missa “La belle se sied” Saturday 20 March 2021 Sunday 21 March 2021 Exploration II:II:II: Two anonymous fifteenth century compositions from the main source of the choral repertoire of St. Peter’s Basilica in the Vatican, a monumental choirbook of more than 240 folios. Saturday 27 March 2021 Sunday 28 March 2021 Exploration III: A monumental six-part motet by Pierre de Manchicourt (Béthune ca.1510 - Madrid 1564): “Sustinuimus pacem” à 6 Saturday 17 April 2021 Sunday 18 April 2021 The Huelgas Ensemble organizes three weekends in which unknown repertoire is rehearsed under the direction of Paul Van Nevel. The target group is professional, semi-professional and amateur singers, who have some experience of singing polyphony and who can read well. The maximum number of participants is limited to ten or twelve, depending on the tessitura of those interested. In this way, the singers will have the opportunity to sing important unknown repertoire over three separate weekends, with all the essential background information: choice of text by the composer, text placement, singing style, original sources, etc. The main objective is to study a polyphonic composition, an exciting exploration into previously unknown territory! The participants will sing from a transcription by Paul Van Nevel, which is not a modern score, but a partbook containing only the voice part (superius, alto, tenor or bass) that the participant has to sing. In addition, the participant will receive the complete score (as a reference point) and a copy of the original. The three explorations are separate from each other. You can therefore register for each individual weekend. Timetable Saturdays: 14.00-18.00 (with pause) and 20.00-22.00 Sundays: 10.30-12.30 and 14.30-17.00 Place The explorations will take place in the chapel of: Monasterium PoortAckere Oude Houtlei 56 9000 Gent Belgium Participation fee (scores included) 1 exploration 250 € 2 explorations 450 € 3 explorations 600 € Payment is made at the beginning of each weekend. Registration Registration, stating voice type and range, by email: [email protected] Registration closing date 21 February 2021 Languages offered Dutch, French, English, German Corona measures The weekends will be spatially organized in such a way that all necessary regulations regarding social distancing and hygiene will be observed. Accomodation We recommend the accomodation in the hotel Monasterium PoortAckere: https://monasterium.be/en/ .

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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
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