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Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Violin Playing in Late Seventeenth-Century England: Baltzar, Matteis, and Purcell Mary Cyr
Performance Practice Review Volume 8 Article 5 Number 1 Spring Violin Playing in Late Seventeenth-Century England: Baltzar, Matteis, and Purcell Mary Cyr Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Cyr, Mary (1995) "Violin Playing in Late Seventeenth-Century England: Baltzar, Matteis, and Purcell," Performance Practice Review: Vol. 8: No. 1, Article 5. DOI: 10.5642/perfpr.199508.01.05 Available at: http://scholarship.claremont.edu/ppr/vol8/iss1/5 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Violin Technique Violin Playing in Late Seventeenth-Century England: Baltzar, Matteis, and Purcell Mary Cyr Violin playing underwent distinct changes in late-17th century England. With the Restoration (and the return of Charles II from France) Lully and the French manner of playing certainly prevailed for a time. But with the ar- rival of famous violinists from abroad such as Thomas Baltzar and Nicola Matteis the English were exposed to fresh influences. The holding of the bow (the bow grip), the placement of the instrument against the body, the kinds of sonorities used on the instrument, all underwent decisive changes. These new techniques and aspects of playing undoubtedly had an effect on Purcell in his Sonnata's of III Parts for two violins and continuo (composed about 1680 and published in 1683). The "French Grip" John Playford described the bow grip commonly used in England around mid-century and thereafter: The Bow is held in the right Hand between the ends of the Thumb and three Fingers, the Thumb being stay'd upon the Hair at die Nut, and the three Fingers resting upon the Wood. -
Routes to the Düben Collection the Acquisition of Music by Gustav Düben and His Sons
Prejeto / received: 6. 5. 2015. Odobreno / accepted: 18. 6. 2015 ROUTES TO THE DÜBEN COLLECTION THE ACQUISITION OF MUSIC BY GUSTAV DÜBEN AND HIS SONS LARS BERGLUND Uppsala University Izvleček: Razprava opisuje, na kakšne načine so Abstract: The article describes the practices of prihajale muzikalije v Dübnovo zbirko. Glasbo acquisition of music behind the Düben Collec- so zanjo prepisovali iz tiskov, so pa tudi iz ra- tion. Music was copied into manuscripts from znih predelov Evrope pridobivali cele skupine prints, but was also obtained in the form of rokopisnih prepisov. Zdi se,da so bila tesna groups of manuscripts from different regions of osebna prijateljstva in zasebne mreže pri tem Europe. Close personal contacts and networks pomembnejše kot uradne tržne poti. seem to have been more important than tradi- tional trade routes. Ključne besede: Dübnova zbirka, 17. stoletje, Keywords: Düben Collection, seventeenth cen- glasba na Švedskem, razširjanje glasbe, zbirke. tury, music in Sweden, dissemination, music collections. Musical-cultural interchange and the transfer of music and musical cultures constitute in effect an exchange of knowledge, skills and values. In early modern Europe music travelled across the continent, being adopted, imitated and integrated in local contexts, often in cross-fertilization with local practices. Encounters with new and foreign sounds could be uncritically embraced – or resisted and rejected – but they always led to some kind of transformation of attitudes to listening, playing, composing or otherwise inter- acting with music. Even though transnational and transcultural interchange effectively entailed mental transformations of this kind, cultural transfer had in some way or other to be mediated by material means – by the transfer of material objects such as music prints or manuscripts, instruments or educational treatises: a transfer basically carried out by humans, who might be migratory musicians, postal carriers, shippers or couriers. -
The Solo Violin in London 1650-1705
‘Florish in the Key’ – the solo violin in London 1650-1705 Played on: Anon – ‘Charles II’ Violin 1664 (tracks 1-34); Girolamo Amati – Violin 1629 (tracks 35-44) (A=416Hz) by Peter Sheppard Skærved Works from ‘Preludes or Voluntarys’ (1705) 1 Arcangelo Corelli D major Prelude 1:10 26 Marc ’Antonio Ziani F minor Prelude 2:21 2 Giuseppe Torelli E minor Prelude 2:53 27 Gottfried Finger E major Prelude 1:25 3 Nicola Cosimi A major Prelude 1:37 28 ‘Mr Hills’ A major Prelude 1:40 4 Heinrich Ignaz Franz von Biber D major Prelude 0:48 29 Johann Christoph Pepusch B flat major Prelude 1:16 5 Giovanni Bononcini D minor Prelude 1:08 30 Giuseppe Torelli C minor Prelude 1:01 6 Nicola Matteis A major Prelude 1:16 31 Nicola Francesco Haym D minor Prelude 1:14 7 Francesco Gasparini D major Prelude 1:31 32 Tomaso Giovanni Albinoni C major Prelude 1:19 8 Nicola Francesco Haym F major Prelude 0:50 33 Francesco Gasparini C major Prelude 1:33 9 Johann Gottfried Keller D major Prelude 1:44 34 Nicola Matteis C minor Prelude 2:09 10 ‘Mr Dean’ A major Prelude 2:10 11 Tomaso Giovanni Albinoni D major Prelude 1:34 Works from ‘A Set of Tunings by Mr Baltzar’) 12 William Corbett A major Prelude 1:42 35 Thomas Baltzar A major Allemande 1 1:48 13 Henry Eccles A minor Prelude 1:57 36 Thomas Baltzar A major Allemande 2 2:06 14 Arcangelo Corelli A major Prelude 1:23 37 Thomas Baltzar A major ‘Corant.’ 1:21 15 Nicola Cosimi A major Prelude 1:26 38 Thomas Baltzar A major ‘Sarabrand.’ 1:30 16 Tomaso Vitali D minor Prelude 1:31 17 John Banister B flat major Prelude 1:12 Other -
Field Dissertation 4
OUTLANDISH AUTHORS: INNOCENZO FEDE AND MUSICAL PATRONAGE AT THE STUART COURT IN LONDON AND IN EXILE by Nicholas Ezra Field A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2013 Doctoral Committee: Associate Professor Stefano Mengozzi, Co-Chair Associate Professor Mark Clague, Co-Chair Professor Linda K. Gregerson Associate Professor George Hoffmann ACKNOWLEDGEMENTS In writing this dissertation I have benefited from the assistance, encouragement, and guidance of many people. I am deeply grateful to my thesis advisors and committee co-chairs, Professor Stefano Mengozzi and Professor Mark Clague for their unwavering support as this project unfolded. I would also like to extend my heartfelt gratitude to my dissertation committee members, Professor Linda Gregerson and Professor George Hoffmann—thank you both for your interest, insights, and support. Additional and special thanks are due to my family: my parents Larry and Tamara, my wife Yunju and her parents, my brother Sean, and especially my beloved children Lydian and Evan. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ............................................................................................................ v ABSTRACT....................................................................................................................... vi CHAPTER ONE: Introduction -
Speedmeetings Subscription Form
SPEEDMEETINGS SUBSCRIPTION FORM COMPANY : Les Cyclopes First name : Bibiane & Thierry Last name : Lapointe & Maeder e-mail : [email protected] Describe your company in a few words : Les Cyclopes is a baroque ensemble. Our repertoire places emphasis on 17th century. We enjoy the challenge of searching in order to build programs around precise topics. The two directors of the ensemble being harpsichordist and organist, the programs often put a keyboard composer as the focus point of the programs, placing the keyboard repertoire in relation with vocal and instrumental music. Which project would you like to present during your speedmeeting sessions : 1) Froberger in Rome : Motets and chamber music of Frescobaldi, Carissimi and Froberger. Soprano, Tenor, bass 2vn and basso continuo 2) The Imperial Diet of Regensburg. Chamber music of Bertali, Schmelzer, Valentini in connection with keyboard pieces of Froberger. 2 vn, 3 va, viola da gambe, and basso continuo 3) Froberger in London : chamber music for 2 violins, viola da gamba and basso continuo by C. Gibbons, T. Blatzar, M Locke and keyboard music of Froberger. New Deal @ Musicora - February 5th 2016 Videos of Les Cyclopes : Bruhns de Profundis : https://www.youtube.com/watch?v=fhUrYfKyjHs Bertali Tausend Gulden Sonata : https://www.youtube.com/watch?v=iZHf38q1BTU New Deal @ Musicora - February 5th 2016 Les Cyclopes Direction musicale Bibiane Lapointe & Thierry Maeder Johann Jacob Froberger A travelling musician in the service of Ferdinand III of the Holy Roman Empire This major composer of music for the keyboard in the 17th Century is also a particularly eminent symbol of the wealth and dynamism of European cultural exchange during the Baroque period. -
Buxtehude and His Circle Theatre of Voices, Paul Hillier Buxtehude CHRISTIAN GEIST (C
Buxtehude and his Circle Theatre of Voices, Paul Hillier Buxtehude CHRISTIAN GEIST (c. 1650-1711) 1 Dixit Dominus Domino meo �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5:49 and his Circle for soprano, countertenor, tenor, bass, 2 violins, cello, violone and organ Theatre of Voices DIETRICH BUXTEHUDE (c. 1637-1707) 2 Jesu, meine Freude, BuxWV 60 �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 11:27 for soprano, mezzo, bass, 2 violins, bassoon and organ Else Torp, soprano NICOLAUS BRUHNS (1665-1697) Hanna Kappelin, soprano 4 - 6 3 De profundis clamavi � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 11:55 Kristin Mulders, mezzo-soprano for bass, 2 violins, cello, violone and organ Daniel Carlsson, countertenor 1 Johan Linderoth, tenor FRANZ TUNDER (1614-1667) Adam Riis, tenor 4 4 Dominus illuminatio mea� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 9:04 Jakob Bloch Jespersen, bass for 2 sopranos, mezzo, tenor, bass, 2 violins, cello and organ Jesenka Balic Zunic, violin Karolina Radziej, violin CHRISTIAN GEIST Rastko Roknic, viola 5 Die mit Tränen säen �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 10:01 Gabriel Bania, viola for 2 sopranos, mezzo, tenor, bass, 2 violas, cello, violone and organ Mime Yamahiro-Brinkmann, cello DIETRICH BUXTEHUDE Lars Baunkilde, violone Monika Fischaleck, -
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. -
View / Open Rogers Oregon 0171N 10424.Pdf
WRITTEN FRAGMENTS OF AN ORAL TRADITION: “RE-ENVISIONING” THE SEVENTEENTH-CENTURY DIVISION VIOLIN by KATHERINE LINN ROGERS A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2012 THESIS APPROVAL PAGE Student: Katherine Linn Rogers Title: Written Fragments of an Oral Tradition: “Re-Envisioning” the Seventeenth-Century Division Violin This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Marc Vanscheeuwijck Chairperson Lori Kruckenberg Member Kathryn Lucktenberg Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Katherine Linn Rogers iii THESIS ABSTRACT Katherine Linn Rogers Master of Arts School of Music and Dance June 2012 Title: Written Fragments of an Oral Tradition: “Re-Envisioning” the Seventeenth-Century Division Violin Seventeenth-century division violin music is not considered part of the classical canon, but its background as a European art form may make it seem “too Western” for traditional ethnomusicological study. The purpose of this thesis is twofold: first, I outline the historical context, transmission, and performance practice of division violin playing in England during the sixteenth and seventeenth centuries. Also of interest to me is the way in which we, as musicologists, study oral tradition within the context of a musical culture that no longer exists today. -
Viol in Oxford Music Online Oxford Music Online
14.3.2011 Viol in Oxford Music Online Oxford Music Online Grove Music Online Viol article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/29435 Viol [viola da gamba, gamba] (Fr. viole ; Ger. Gambe ; It. viola , viola da gamba ). A bowed string instrument with frets; in the Hornbostel-Sachs system it is classified as a bowed lute (or fiddle). It is usually played held downwards on the lap or between the legs (hence the name ‘viola da gamba’, literally ‘leg viol’). It appeared in Europe towards the end of the 15th century and subsequently became one of the most popular of all Renaissance and Baroque instruments and was much used in ensemble music ( see CONSORT and CONTINUO ). As a solo instrument it continued to flourish until the middle of the 18th century. In 18th- and 19th-century American usage the term BASS VIOL was applied to a four-string instrument of the violin family. 1. Structure. During its history the viol was made in many different sizes: pardessus (high treble), treble, alto, small tenor, tenor, bass and violone (contrabass). Only the treble, tenor and bass viols, however, were regular members of the viol consort. The pardessus de viole did not emerge until the late 17th century, and the violone – despite its appearance in the 16th century – was rarely used in viol consorts. The alto viol was rarely mentioned by theorists and there is some doubt as to how often it was used. Two small bass instruments called ‘lyra’ and ‘division’ viols were used in the performance of solo music in England ( see LYRA VIOL and DIVISION VIOL ). -
Virtuoso Music of the Holy Roman Empire
virtuoso music of the holy roman empire Daniel S. Lee Jeffrey Grossman violin harpsichord THE SEBASTIANS a2 Virtuoso Music of the Holy Roman Empire This recording explores the rich baroque repertoire of music for violin and harpsichord written by composers from modern-day Germany, Austria, and the Czech Republic. Most of these composers spent their entire lives in this region; Froberger was born here, studied in Italy, and returned; while Handel and Baltzar left their native lands permanently, becoming phenoms in England. Our recording takes its name from the Italian “a 2,” used by these German speakers as well, which indicates two musicians playing together. We do not often think of the Holy Roman Empire influencing this diverse list of composers, which includes the famously Lutheran Bach. After the 1648 Treaty of Westphalia, the individual territories of the Holy Roman Empire were granted much more autonomy than in the previous centuries. And despite the century of wars that followed the treaty—wars called more “civilized” than the Thirty Years’ War— the arts flourished in the provinces of the Holy Roman Empire. Some have argued that this was because the empire protected the various member states from each other, allowing many centers of culture to develop all over Germany and Austria, as opposed to singular artistic hubs like Paris or London. The relative religious and artistic freedom that the empire allowed after 1648 created conditions ripe for artistic patronage from local nobility, government, and churches. This collection of virtuoso works by Biber, Froberger, Baltzar, Telemann, Handel, J.S. and C.P.E. -
AMS/SMT 2014: Seventeenth-Century Events in the Land of Beer and Polka by Anita Hardeman and Maria Virginia Acuña
The NewsletterNewsletter ofof the SocietySociety for for Seventeenth-Centur Seventeenth-Centuryy Music Music Vol.Vol. 24, 23, No. No. 1, 2, SpringSpring 20152014 AMS/SMT 2014: Seventeenth-Century Events in the Land of Beer and Polka by anita hardeman and maria virginia acuña he call to polka rang out frequently at teenth century, concluding that these detailed whether collegium- or classroom-focused, this year’s American Musicological engravings were meant to help purchasers un- and the significance of dance. TSociety meeting as Baroque musicol- derstand the music within a mimetic context, A full Saturday morning session was ogists, eager to hear the latest research from providing visual imagery illustrative of the devoted to sacred music. Ireri E. Chávez- their colleagues, hurried back and forth be- musical contents. Bárcenas demonstrated that the Catholic tween the Milwaukee Convention Center and The intrepid scholar of seventeenth- Church deliberately sought to include the di- the Milwaukee Hilton via the infamous century music was faced some decisions on verse ethnic groups of Puebla de los Angeles “polka escalator.” This year’s meeting, held Friday afternoon. That afternoon’s concert (Mexico) in the text and music of a set of jointly with the Society for Music Theory featured Robert Crowe, performing with Il Christmas villancicos by Gaspar Fernández. (SMT) in blustery Milwaukee, WI, included Furioso (Victor Coelho and David Dolata, Cesar Favila explored novohispanic convent a wide variety of papers of interest to SSCM theorbos, and Neil Cockburn, organ). Crowe music of the Puebla, illuminating racial and members. A robust number of presentations lent his striking soprano voice to a perfor - social issues surrounding aspiring nuns and spread throughout the conference provided a mance of Restoration solo motets, where their music.