DOCSLIB.ORG

Antonio Bertali (1605-1669) Sonatas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antonio Bertali (1605-1669) Sonatas Antonio Bertali (1605-1669) Sonatas 1 Sonata XII a quattro (violin, cornett, sackbut, dulcian & bc) 5:29 2 Sonata a due violini e gamba II (violin, cornett, sackbut & bc) 7:12 3 Ciaconna per violino solo (violin & bc) 10:17 www.concert-brise.eu 4 Sonata a due violini e gamba III (violin, cornett, sackbut & bc) 7:11 5 Sonata II a quattro (violin, cornett, sackbut, dulcian & bc) 6:39 Le Concert Brisé présente ses vifs remerciements à Martin Erhardt et à la paroisse 6 Sonata a due violini (cornett, violin & bc) 6:54 de l’église St Jean pour leur accueil chaleureux. 7 Sonata a due violini fagotto IV (violin, cornett, sackbut & bc) 3:39 Un grand merci également à Massimo Cialfi pour sa disponibilité 8 Sonate I (cornett & organ) 6:03 pour les accordages de l’orgue. 9 Sonata in d a quattro (violin, cornett, sackbut, dulcian & bc) 11:18 Sources Instruments Antonio Bertali: Prothimia suavissima, Violin: Naples 18th century, family Gagliano Leipzig 1672 (Tr. 1, 5) Sackbut: Ewald Meinl (copy after Drewelwecz, 1595) Le Concert Brisé Herzog August Library / Wolfenbüttel: Dulcian: Guntram Wolf, 2009 (copy after an anonymous Ms 34.7 Aug (Tr. 2, 3, 8, 9) instrument from the collection of the Princely Castle in Anne Schumann violin · Stefan Legée sackbut · Monika Fischaleck dulcian Uppsala University Library / Dueben Collection Merano) Hadrien Jourdan harpsichord (3) & organ (1, 2, 4-7, 9) (Tr. 2, 4, 7) Straight treble cornett: Henri Gohin, 2007 (copy after Carsten Lohff harpsichord (1, 2, 4-7, 9) & organ (8) Bibliothèque nationale de France: Codex Rost, a German instrument from the beginning of the 18th BN Res Vm7.673, Nr. 88 (Tr. 6) century); Cornettino: Henri Gohin, 2008; Mute cornett: Matthias Spaeter archlute (1, 2, 4-7, 9) Henri Gohin, 2007 Temperament 14-course archlute: Maurice Ottiger, 1987 William Dongois Pitch a: 465 Hz Harpsichord: Bernhard von Tucher, 1995 (after Italian instruments from the 17th century) cornett (1, 2, 6), cornettino (4, 5, 7-9) Organ: Italian, five stops, Giorgio Carli, 2011 mute cornett (9) & direction EngliSH Antonio Bertali (1605-1669) The name of this composer appears in many different sites of libraries and private persons offer further spellings (Bertalli, Berthali, Bartali, Barthali, Bertaldi), possibilities for conducting research. of which the version “Bertali” for his surname has ul- When a programme is put together with the focus timately prevailed. This musician was born in March on an individual composer, therefore, one must 1605 in Verona, where he also received his education bring together the traces of his oeuvre, even if – as from Stefano Bernardi. In 1622 he entered the service in the case of Antonio Bertali – no complete edi- of the imperial court orchestra in Vienna; he probably tion of his works exists. Part of his vocal production settled permanently in the Austrian capital in 1624. has been lost, but a list of his works is preserved In the documents of St. Stephen’s Cathedral, he is in the Vienna Court Library: Distinta specificatione listed as an instrumentalist (violinist) of the imperial dell’archivio musicale per il servizio della cappella e court orchestra. He succeeded Giovanni Valentini as camera cesarea (the catalogue of the private collec- court kapellmeister in October 1649. Bertali died in tion of Leopold I). Vienna on 17 April 1669. Numerous Masses for large forces (frequently 8-part and with a double-choir instrumental ensemble of About the prominence of a composer and the strings with violins and gambas as well as winds use of sources with cornetts, baroque trombones and sometimes When a musician specialises in Early Music, he must trumpets) and several motets are preserved in the inevitably be interested in musicological questions library in Kremsier, Bohemia (today Kromĕříž, Czech and different sources. Amongst other things, he must Republic) and in the University of Uppsala Library also investigate the repertoire. Today, this is found (Düben Collection). Bertali’s instrumental music is Recorded 5-8 July 2012, Evangelische Johanneskirche, Halle (Saale), Germany in collections compiled by musicologists and in new also distributed over various manuscripts (in the Recording producer: Manuel Dörr · Assistant engineer: Giacomo Papini issues of editions made during the time of origin of libraries of Kromĕříž, Uppsala and Wolfenbüttel); Executive Producer: Michael Sawall the works. Moreover, one finds pieces worth con- there is also a printed edition of 1672 entitled Pro- Organ tuning: Massimo Cialfi (www.organipercontinuo.com) sidering in anthologies containing works of differ- thimia suavissima. If a musician wishes to perform Front illustration: Equestrian Portrait of Ferdinand III, Holy Roman Emperor (Habsburg court painter, 17th century) ent composers; these exist in printed or manuscript works of Bertali, then, he or she must refer to these Artist pictures: Patrick Charbon form and are only rarely re-issued. Nonetheless, ever sources. In our case, works for large forces could not Layout: Joachim Berenbold · Booklet editor: Susanne Lowien more frequently, there are performance materials or be considered, but there are so many sonatas (even CD manufactured in The Netherlands complete editions of a composer containing sonatas for an ensemble as specific as ours) that it would be & © 2013 note 1 music gmbh of the 17th century. In addition, numerous internet easy to exceed the temporal scope of a CD. 5 EngliSH EngliSH One element in the manuscript of the library in recording. At the end of a vocal or instrumental cha- certain reference works is frequently obscured Wolfenbüttel was to engender a certain distrust conne there is usually a coda - especially if the work nowadays by the existence of monumental in regard to what is called a “source” and to the is of a certain length, in triple metre and in a major editions subdivided according to the individual attribution of a work to a given composer. In this key. The coda is then written in duple metre and con- composers. Musicians and music lovers, there- manuscript, Sonata No. 25 is attributed to a certain tains a brief modulation into a minor key which con- fore, profit from the new compilation of works “Berthaly”, but this work is in fact the sonata La cludes the work. The presence of such a coda is one that were originally widely scattered in various Cesta of Giovanni Pandolfi-Mealli. Such errors seem of the customary characteristics of a chaconne. At collections (as found in the Rost Codex, in the to occur quite frequently in manuscripts. Whether this point, our curiosity as musicians led us to a new Wolfenbüttel manuscript or in the Düben Col- the mistake in this specific case was intentional – discovery and to the question as to why this coda lection, for example), but they miss the origi- e.g. in order to lend greater prestige to the col- does not appear in modern editions of the piece. As a nal context – the history, indeed sociology – in lection – or unintentional, we shall perhaps never small historical “twinkle in the eye”, the Wolfenbüttel which they first appeared. know. The rather Northern German character of So- manuscript contains a Chaconne for violin and viola The existence of a variety of compositions nata XII, too, makes one suspicious. It is also found by Samuel Capricornus which once more brings to- in a single collection teaches us a great deal under Number 76 in the Wolfenbüttel manuscript, gether the names of these two composers. about the taste of the times. Some compila- but David Pohle is named there as composer. In ad- Thus our “Bertali project” soon turned into a panora- tions are heterogeneous, and one poses the dition, it appears in a collection issued by Samuel ma of German music from Austria and from Northern question as to who played and heard this Capricornus in 1671. Germany. The lost unity (the concentration on a single music, and where it was played. The differ- We only became aware of the existence of this col- composer) was found again at another level: not only ence between printed music and that handed lection entitled Continuation der neuen wohl anges- are all the works by Bertali or attributed to him writ- down in manuscript form is also obscured in timmten Taffel Lustmusik shortly before making this ten in the “stylus fantasticus”, but they reveal differ- modern anthologies, even when the editors recording. It also contains several sonatas attributed ent facets of this style. Moreover, for today’s listener, refer to the sources. If a comparison between to Antonio Bertali in the manuscripts of Wolfenbüt- they are representative of the development of Italian the printed and written version of a work is tel and Uppsala, but also, quite definitely, several music in its “migration phase” towards the North. possible, this is usually very revealing. Very works from his sonata collection Prothimia suavis- This is proven by the wide distribution of their works often, the manuscript is considerably more sima (Leipzig 1672). and extreme mobility of the musicians, amongst oth- precise in the area of accidentals, even if it When one examines the Wolfenbüttel version of the er things. Sonata No IV, as we have named it in ac- contains copying mistakes, for the handwrit- large Chaconne by Antonio Bertali, one discovers cordance with its designation in the Uppsala manu- ten notation is not subject to the constraints a virtuoso coda above a pedal point that does not script, is found in three sources: in Uppsala in three of a page layout. Petrucci’s music printing appear in any of the known modern editions of this slightly different versions (!), in Wolfenbüttel and in method with movable type, invented around work - not even in those that are ostensibly based Capricornus.
Load more

Recommended publications
  • The Instrumental Music for Small Ensemble of Antonio Bertalibertali:: the Sources 33
    The Instrumental Music for Small Ensemble afof Antonio Bertali: The Sources By Niels Martin Jensen There are still many unsolved problems conceming the life and works of Anto­ nio Bertali, the Italian violinist, composer, and maestro di cappella of the Habs­ burg court in Vienna from 1649 until his death in 1669. It is not surprising that the exact dates of his birth and of his death only recently have been discovered; such lack of information holds good for many of his contemporaries too. It is striking, however, how much inaccurate and contradictory information exists in music literature from the late 17th century up to our day about his published and unpublished works. Lost works as wellweH as uncertain and spurious attributions still hamper a clear view of this prolific composer as an important link between the instrumental traditions of Southem and Northem Europe. Through the dissemination of his instrumental music Bertali became one of the most weH-knownwell-known Italian composers to his contemporaries in Northem Europe, but the sources of his works present us with some essential problems as regards the holdings of music manuscripts of the 17th century. The manuscripts of his music lead us to some of the important collections of instrumental music: The Liechtenstein-Caste1com collection at KromeriZ in the Czech Republic; the DtibenDüben collection, now in the University Library of Uppsala in Sweden; and the Rost manuscript in the holdingsholding s of the Bibliotheque Nationale in Paris. Bertali 's operas and church music as weIlwell as his large-ensemble sonatas are the best known part of his oeuvre and until now have received the lion's share of scholarly interestinteresti.l .
    [Show full text]
  • Digibooklet Muffat: Missa in Labore Requies
    Georg Muffat MISSA IN LABORE REQUIES from the four galleries of the Abbey Church of Muri Bertali • Schmelzer • Biber CHURCH SONATAS Cappella Murensis Les Cornets Noirs GEORG MUFFAT Missa in labore requies a 24 Kyrie 5:55 Gloria 14:08 Credo 16:26 Sanctus 3:17 Benedictus 2:24 Agnus Dei 3:50 ANTONIO BERTALI Sonata a 13 4:10 HEINRICH IGNAZ FRANZ BIBER Sonata VI a 5 5:13 JOHANN HEINRICH SCHMELZER Sonata XII a 7 4:23 HEINRICH IGNAZ FRANZ BIBER Sonata VIII a 5 5:23 ANTONIO BERTALI Sonata Sancti Placidi a 14 6:10 CAPPELLA MURENSIS Soprano solo: Miriam Feuersinger • Stephanie Petitlaurent Alto solo: Alex Potter • William Purefoy Tenore solo: Hans Jörg Mammel • Manuel Warwitz Basso solo: Markus Flaig • Lisandro Abadie Soprano ripieno: Lia Andres • Penelope Monroe Alice Borciani • Caroline Rilliet Alto ripieno: David Feldman • Bernhard Schafferer Roman Melish • Victor de Souza Soares Tenore ripieno: Cory Knight • Richard Resch Dan Dunkelblum • Michel Mulhauser Basso ripieno: Marcus Niedermeyr • Valerio Zanolli Ismael Arróniz • Erwin Schnider TROMPETENCONSORT INNSBRUCK Tromba: Andreas Lackner • Thomas Steinbrucker Martin Sillaber • Gerd Bachmann • Georg Pranger Timpani: Michael Juen LES CORNETS NOIRS Cornetto/Cornettino: Gebhard David • Bork-Frithjof Smith Trombone: Simen van Mechelen • Detlef Reimers • Fernando Günther Violino: Amandine Beyer • Cosimo Stawiarski Viola da gamba: Brian Franklin • Brigitte Gasser Christoph Prendl • Patrick Sepec Violone in G: Matthias Müller • Tore Eketorp • Leonardo Bortolotto Arciliuto: Matthias Spaeter Organo: Markus Märkl • Tobias Lindner • Michael Behringer David Blunden • Nicoleta Paraschivescu musical director: Johannes Strobl Georg Muffat – Salzburg becomes a European centre of high baroque music When Georg Muffat arrived at the Court of Salzburg in 1678, engaged as court organist by Prince Archbishop Max Gandolph Graf Kuenburg (r.
    [Show full text]
  • ACRONYM Program Notes
    PROGRAM NOTES The Düben Collection consists of approximately 2300 music manuscripts assembled by, and named after, a family of composers who served in succession as Kapellmeisters (literally, chapel masters; the directors of music) to the Royal Swedish Court in Stockholm. The largest contributor to the collection was Gustaf Düben the Elder (1628 - 1690). Others included his father, Andreas (1597 - 1662), and his sons, Gustaf the Younger (1659 - 1726) and Anders the Younger (1673 - 1738). The latter donated the collection to Uppsala University Library where it remains today. The Düben Collection contains both instrumental and vocal music, and the vocal music is primarily sacred. Most of the compositions in the collection are by Germans and Austrians and set to Latin or German texts, although a smattering of works are by composers from France, Italy, and elsewhere. In addition, several Swedish composers, including members of the Düben family, set a number of Swedish texts. Some major works, such as opera excerpts by Lully and chamber cantatas by Buxtehude, are found in Swedish translation. Much of the music within the archive is unique, and the vast majority of it has been neither published in modern editions nor recorded. ACRONYM previously scoured the collection for sonatas that can now be heard on our Bertali and Wunderkammer recordings, and while doing so, our interest was piqued by this unmined treasure trove of 17th-century music. This performance consists of some of the most beautiful and fascinating works found within the Düben Collection, and it is likely the first time any of this repertory has been heard in hundreds of years.
    [Show full text]
  • Das Partiturbuch
    557679bk Partiturbuch US 21/3/06 6:49 pm Page 4 Ensemble Echo du Danube Martin Jopp, Violin: Tracks 1-11 Jörn Sebastian Kuhlmann, Violin: Tracks 1, 5, 7 & 8 DAS PARTITURBUCH Rainer Johannsen, Dulcian: Track 1, 4 and 8 Christian Zincke,Viola da gamba: Tracks 1-3, 5-7 & 9-11 / Violone: Tracks 4 & 8 Instrumental Music at the Courts of Michael Dücker, Theorbo: Tracks 1-5 & 7-11 Margit Schultheiß, Italian Double Harp: Tracks 5 & 10-11 Alexander Weimann, Harpsichord / Organ: Tracks 1-11 17th Century Germany The ensemble Echo du Danube was founded by the Viennese Ensemble Echo Du Danube gambist Christian Zincke. The name was originally the title of a collection of sonatas by the viola da gamba virtuoso Johann Directed by Christian Zincke Schenck, which were published in 1709. Group members Martin Jopp (violin), Alexander Weimann (harpsichord/organ), Michael Dücker (lute) and Christian Zincke are dedicated to the performance of seventeenth-century chamber music. Repertoire from earlier periods form another area of interest for the ensemble. For programmes with Baroque and Renaissance content, the group expands to include the psalterio (Elisabeth Seitz) and the harp (Johanna Seitz). Echo du Danube has performed for the Hessischen Rundfunk (Frankfurt), the Feste Musicali (Cologne) the Kelkheim Early Music Festival, the Brunnethaler Summer Concerts (Austria) the Crakow Festival (Poland), the Essaouira Festival (Morocco) and formed the continuo for the Frankfurt Opera’s production of Monteverdi’s Orfeo. The ensemble has made numerous radio recordings for German public radio (works by Jakob Richmann, August Kühnel and Ernst Christian Hesse). Extensive research precedes the development of Echo du Danube’s programmes.
    [Show full text]
  • STABAT MATER Sances, Bertali, Schmelzer
    STABAT MATER Sances, Bertali, Schmelzer CARLOS MENA, alto RICERCAR CONSORT, Philippe Pierlot FRANÇOIS FERNANDEZ violon, LUIS OTAVIO SANTOS violon, PHILIPPE PIERLOT viole de gambe, KAORI UEMURA viole de gambe, MIENEKE VAN DER VELDEN viole de gambe, FRANK COPPIETERS violone, GIOVANNA PESSI harpe, LUCA GUGLIELMI clavecin et orgue. 2 Giovanni Felice SANCES 1. Stabat Mater, Pianto della Madona „concerto di viole di Filippo“, 1643 12’30 Johann Heinrich SCHMELZER 2. Sonata IX a 5 „Sacro-profanus concentus musicus“, 1662 4’17 Anonyme 3. Salve Regina 7’15 Johann Heinrich SCHMELZER 4. Sonata XI a 3 „Duodena selectarum sonatarum“, 1659 5’26 Johann Joseph FUX 5. Ave Maria 3’31 Johann Heinrich SCHMELZER 6. Sonata XII a 3 „Duodena selectarum sonatarum“, 1659 6’23 Marc’ Antonio ZIANI 7. Alma Redemptoris Mater 7’47 Antonio BERTALI 8. Sonata a 4 8’48 LEOPOLD I 9. Regina Coeli „accompagnamento di viole del Antonio Bertali“ 6’41 Johann Heinrich SCHMELZER 10. Sonata IV a 6 „Sacro-profanus concentus musicus“, 1662 5’17 > durée totale : 68 minutes Orgue positif principal italien de 8' en étain - Etienne Fouss 2002 Clavecin - Philippe Humeau 2005 3 STABAT MATER Stabat Mater dolorosa Vidit suum dulcem natum Juxta crucem lacrimosa Moriendo desolatum Dum pendebat filius. Dum emisit spiritum. Cujus animam gementem Eja Mater, fons amoris, Constristatam et dolentem Me sentire vim doloris Pertransivit gladius. Fac, ut tecum lugeam. O quam tristis et afflicta Fac ut ardeat cor meum Fuit illa benedicta In amando Christum Deum, Mater Unigenti Ut sibi complaceam. Quae morebat, et dolebat Sancta Mater, istud agas, Et tremebat dum videbat Crucifixi fige plagas Nati poenas incliti.
    [Show full text]
  • Antonio Bertali, "Lamento Della Regina D'inghilterra": Introduction
    Antonio Bertali, Lamento della Regina d’Inghilterra, ed. Andrew H. Weaver, April 2008 Introduction, p. i ____________________________________________________________________________________________________ INTRODUCTION On 30 January 1649, King Charles I of England was beheaded by his own government, having been found guilty of high treason and sentenced as a “tyrant, traitor, murderer, and implacable enemy to the Commonwealth of England.” While the long-term results of this execution are well known to students of early modern English history, its immediate impact on all levels of European society can be difficult to fathom. In the age of Absolutism, this supreme blow to the God-given authority of the king sent shockwaves throughout Europe. One can only imagine the fear it must have inspired in other European monarchs, who were forced to acknowledge how very tenuous was their own hold to power. Among the many artistic responses to Charles’s execution was a sympathetic work from the Habsburg court of the Holy Roman Emperor in Vienna, an Italian poem by Emperor Ferdinand III’s younger brother, Archduke Leopold Wilhelm (1614–62), which was set to music by Antonio Bertali (1605–69), maestro di cappella of the imperial court chapel. In both its text and music, this lament of Charles’s French-born Catholic queen, Henrietta Maria, looks back to the ne plus ultra of all seventeenth-century laments, Monteverdi’s Lamento d’Arianna of 1608, although it also bears witness to the textual and musical conventions that were rising to prominence on the Venetian operatic stage. The Composer Born in Verona in 1605, Antonio Bertali spent his youth studying music with Stefano Bernardi, maestro di cappella of the Verona cathedral.1 He seems to have joined the Viennese court chapel already by 1624, but the earliest document of his presence at court is his marriage certificate dated 26 January 1631, which identifies him as an instrumentalist to the emperor.
    [Show full text]
  • ACRONYM to Play Baroque Battle Music on Inaugural Pipino Series at YSU by Daniel Hathaway and Kivie Cahn-Lipman
    ACRONYM to play Baroque battle music on inaugural Pipino Series at YSU by Daniel Hathaway and Kivie Cahn-Lipman Youngstown State University is inaugurating a new cycle of concerts this season: the Donald ​ P. Pipino Performing Arts Series, which continues through April 2019, includes seven events in diverse genres. Commenting on the new offerings in a press release, Phyllis M. Paul, Dean of the Cliffe College of Creative Arts & Communication, said, “The Series brings to Youngstown the types of cultural opportunities usually found only in large metropolitan areas.” The second event on Friday, October 5 at 7:30 pm in Ford Family Recital Hall at the DeYor Center on Youngstown’s Federal Plaza will feature the celebrated Baroque string band ACRONYM in a program commemorating the 1683 Battle of Vienna. That standoff was a turning point in the long conflict between the Ottoman and Holy Roman Empires and inspired a programmatic work by Heinrich Ignaz Franz Biber. “Dedicated to giving modern premieres of the wild instrumental music of the seventeenth century,” ACRONYM is itself an acronym for its fanciful moniker, “Altmusik Collective Resurrecting Obscure Nuanced Yesteryear’s Masterpieces.” The ​ ​ ensemble is largely made up of musicians who have passed through the Oberlin Conservatory’s Historical Performance Program. Its members can also be heard performing in such period and modern instrument groups as Cleveland’s Apollo’s Fire, Toronto’s Tafelmusik, Boston’s Handel and Haydn Society, the Boston Early Music Festival, the English Concert, the
    [Show full text]
  • The Development of the Trombone As an Ensemble Instrument During The
    The Development of the Trombone as an Ensemble Instrument During the Seventeenth and Eighteenth Centuries by Monte Hilton Mumford, B.A. Mus. Perf., B.A. Mus. Ed. Submitted in partial fulfilment of the requirements for the degree of Master of Music University of Tasmania June 1987 2 Table of Contents page J)eclaration ------------------------------------------------------------ 3 Acknowledgements ----------------------------------------------------- 4 Abstract ---------------------------------------------------------------- 5 Preface ------------------------------------------------------------------ 8· Chapter I ---------------------------------------------------------------- 9 Chapter II ------------------------------------------------------------- 22 Chapter III ------------------------------------------------------------- 44 Summary --------------------------------- ------------------------------ 74 Appendix - Examples -------------------------------------------------- 75 Bibliography ---------------------------- ---------------------------- -- 83 3 DECLARATION This thesis contains no material which has been accepted for the award of any other higher degree or graduate diploma in any University and to the best of this author's knowledge and belief, this thesis contains no material previously published or written by another person, except when due reference is made in the text of the thesis. 4 ACKNOWLEDGEMENTS I wish to acknowledge the following people for their invaluable assistance to me during the course of writing this thesis: Wayne
    [Show full text]
  • N8/D Rto.Nys
    N8/d rto.nys THE TROMBONE IN GERMAN AND AUSTRIAN ENSEMBLE SONATAS OF THE LATE SEVENTEENTH CENTURY: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF PRESSER, BOZZA, GEORGE, BEETHOVEN, STEVENS, WILDER, WHITE, SPILLMAN, TUTHILL AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By A. Graydon McGrannahan III, B.M.E., M.M. Denton, Texas August, 1981 - i31 McGrannahan, A. Graydon III, The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century: Lecture Recital, Together with Three Recitals of Selected Works of Presser, Bozza, George, Beethoven, Stevens, Wilder, White, Spillman, Tuthill and Others. Doctor of Musical Arts (Trombone Performance), August, 1981, 38 pp., 10 illustra- tions, bibliography, 33 titles. The dissertation consists of four recitals. Three solo recitals featured a variety of selected works for bass trombone and piano by traditional and contemporary composers. The lecture recital, entitled "The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century," is a study which examines the role of the trombone, both as a solo and ensemble instrument, and the functions of the instrument in ensemble sonatas of the late seventeenth century. The trombone's use in instrumental ensembles was traced from the fifteenth century to the present. The program included selections by German composers Daniel Speer and Matthias Weckmann, and Austrian composers Autonio Bertali, Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber. After the seventeenth century, little evidence is available documenting the continuation of the trombone's extensive use in instrumental chamber ensembles.
    [Show full text]
  • BERTALI LIVRET Saga
    ANTONIO BERTALI (1605-1669) ANTONIO BERTALI (1605-1669) 1. Sonata à 6 8’16 7. Anonyme (ms Kremsier) : François Fernandez, violon (1,2,3,4,5,6,12,13,14) 2 vl, 1 alto, 2 ténor, vdg, cb, continuo Sonatina à Viola de Gamba 5’04 Luis Otavio Santos, violon (1,2,4,5,6,12,13) 8. Allemande-Variatio 2’08 Maia Silberstein, alto (1,5,13) 2. Leopoldus I (1640-1705) « accompagnamento 9. Courente-Variatio 2’24 di viole del Antonio Bertali » - Regina coeli 7’15 10. Sarabande-Variatio 1ma& 2da 4’34 Blai Justo, alto (1,5,13) alto, 2 vl, 3 vdg, continuo 11. Gigue 1mo&2da 1’32 Kaori Uemura, viole de gambe (1,2,5,13) vdg , continuo 3. Sonata à 2 8’32 Rainer Zipperling, viole de gambe (2) vl, vdg , continuo 12. Sonata à 3 7’27 Philippe Pierlot, viole de gambe (1,2,3,4,5,6,7-11,12,13,14) 2 vl, vdg, continuo Eric Mathot, contrebasse (1,5,13) 4. Sonata à 3 3’57 2 vl, vdg, continuo 13. Sonata à 6 « Tausend Gulden » 6’44 Giovanna Pessi, harpe (1,4,5,7-11,12,14) 2 vl, 1 alto, 2 ténor, vdg, cb, continuo Chris Verhelst, clavecin (1,6,7-11,13,14) 5. Sonata à 5 6’30 Violaine Cochard, orgue (2) 2 vl, 2 alto, viole, continuo 14. Chiacona 8’20 vl, continuo Francis Jacob, orgue (1,3,5,6,12,13,14) 6. Sonata IV à 3 6’29 & Carlos Mena (2) 2 vl, vdg, continuo Ricercar Consort - Philippe Pierlot Enregistrement réalisé à l’église de Bra-sur-Lienne du 21 au 24 septembre 2003 / Direction artistique, montage et prémastering : Rainer Arndt / Remerciements à Robert Kohnen pour son orgue italien (anonyme 1701) et à Monsieur Denne, curé de l’église de Bra-sur-Lienne / Design : LMY&R
    [Show full text]
  • 19-08-07 AFT Before Bach.Indd
    VANCOUVER BACH FESTIVAL 2019 the artists wednesday august 7 at 1:00 pm | christ church cathedral Cappella Borealis: before bach Ellen Marple 17th-century music for strings & winds alto sackbut Alex Fisher Giovanni Priuli (c 1575–1626): tenor sackbut Canzone terza à 6 Jeremy Berkman tenor sackbut Orlando di Lasso (1530/32–1594): Nathan Wilkes German Lied: Der Wein der schmeckt mir also wol à 5 (1573) bass sackbut and Annibale Padovano (1527–1575): Ricercare del Duodecimo Tono La Modestine: Marc Destrubé Philippe de Monte (1521–1603): violin Clamavi de tribulatione mea à 6 Linda Melsted violin Vincenzo Pellegrini (1562-1630): Majka Demcak Dominus regit me — Solo motet from Parnassus musicus violin Natalie Mackie Orlando di Lasso: viola da gamba Luxuriosa res vinum à 6 (1594) Michael Jarvis harpsichord & organ Heinrich Pfendner (c.1590-1630): with the participation of Canzona for organ Madeline Lucy Smith soprano Giovanni Priuli: Canzone prima à 6 Sumner Thompson baritone Giovanni Valentini (c.1582–1649): Generously supported by Canzona for organ Zelie & Vincent Tan Giovanni Priuli: Pre-concert chat with Egredimini filiæ Sion — Solo motet from Parnassus musicus host Matthew White at 12:15: Alex Fisher Antonio Bertali (1605–1669): Sonata in G Giovanni Battista Buonamente (c.1595–1642): THE UNAUTHORISED USE OF Sonata à 6 ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED earlymusic.bc.ca Before Bach Vancouver Bach Festival 2019 1 PROGRAMME NOTES by alex fisher Parnassus Musicus: Music of the Austrian Habsburgs At few times in Western
    [Show full text]