Music of the British Isles

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Old Dominion University Collegium Musicum Old Dominion University Mike Bjorklund Mary Friesen Joseph Bürgler Collier Godfrey Department of Music Cheri Caleo Susan Hagel Joshua Caudell Natalia Kuznetsova Presents Ann Daiber Jay Taylor Martina Fortin Music of the British Isles Old Dominion University Sackbut Ensemble Old Dominion University Collegium Musicum Mike Hall Chris Miller Anne Bell, director Jack Himmelman Jared Raymer Brian Horlor Old Dominion University Viola da Gamba Consort Old Dominion University Viola da Gamba Consort Old Dominion University Sackbut Ensemble Stephen Coxe Kelly Montgomery Mike Hall, director Martina Fortin Rebecca Raydo Old Dominion University Madrigal Singers Old Dominion University Madrigal Singers Nancy K. Klein, director Emily Bjork Jeremy Juachon Khalil Brandon Logan Kenison Leigh Clevenger Amy Kaus India Dale Karen E. Lee Troy Gale Tony Lu Monte Gammon Monique Melchor Cailin Gwaltney Hadley Strelau Cindy Han Samuel Wolffe Christian Harward 2014 Madrigal Banquets Music and FOOD of the British Isles Friday, Dec. 5 and Saturday, Dec. 6 at 6:30 p.m. Chandler Recital Hall, Tickets: $20 to $38 – Call 683-5305 Diehn Fine and Performing Arts Building Go to odu.artstix.com In loving memory of Lee Teply. He gave so much to us all as a musician, scholar, professor, mentor, November 4, 2014 7:30 PM colleague, and friend. Chaconne from “King Arthur” Henry Purcell Pavan I Thomas Tomkins (1659-1695) (1572-1656) arr. Roy Sansom Sonata in F William Babell Pavan (Opusculum 1610) Thomas Simpson Largo (c.1690-1723) (bap.1582-c.1628) Allegro Largo * * * * * * * * Allegro From Primitiae Musicales (1606) Balthasar Fritsch Mike Bjorklund, soprano recorder Paduana 4 (1570-c.1608) Martina Fortin, bass viola da gamba Galliarda 3 Anne Bell, harpsichord Four Dutch Christmas Songs of the 17th Century arr. Johannes To Shorten Winter's Sadness Thomas Weelkes De Herdertjes Lagen Bij Nachte Koulman (bap.1576-1623) Daar Dreigen De Donkere Wolken Nu Sijt Willecome Helas Madame Henry VIII Er Is Een Kindeke Geboren (1491-1547) Viola da Gamba Consort Strike it up Tabor Thomas Weelkes (bap.1576-1623) Pavan (Lacrimae antiquae novae) John Dowland (1563-1626) Pastime with Good Company Henry VIII (1491-1547) * * * * * * * * Madrigal Singers with Collegium Musicum La Bavara from Musicali Melodie, 1621 Giovanni Martino * * * * * * * * Cesare Counterpoint of the Animals Antonio Banchieri (c. 1590-1667) (1567-1634) Sacbut Ensemble The Silver Swan Orlando Gibbons Two Dances arr. Dan Cudney (1583-1625) Jigg (Short and Sweet) Henry Purcell from the Gordion Knit Untied, 1691 (1659-1695) Le Chants des Oyseaux Clement Jannequin Hornpipe from Water Music G. F. Handel (c.1485-1560) (1685-1756) My Bonnie Lass She Smileth Thomas Morley * * * * * * * * (1558-1602) Vestiva i colli Francesco Rognoni My Bonnie Lass She Smelleth P.D.Q. Bach (c.+1550-c.1626) (1807-1742) Martina Fortin, baroque violin * * * * * * * * Kelly Montgomery, harpsichord.

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Baroque Ensemble Program 12-6-18.Pdf
Our ensemble uses a set of baroque bows patterned after existing historic examples BYU – IDAHO DEPARTMENT OF MUSIC PRESENTS from the early 18th century. These bows are lighter, shorter, and have a slight outward curve resulting in characteristic baroque articulation -- a strong, quick down bow and a light, softer up bow, meant to emphasize the inequalities of strong and weak beats. Basso continuo refers to the preferred harmonic accompaniment used during the baroque era. From a printed bass line with a few harmonic clues indicated as numerical “figures,” musicians improvised chordal accompaniments which best fit the unique qualities of their instruments and supported the upper solo lines -- similar to the way a modern jazz rhythm section will “comp” behind a vocal or saxophone solo. This single bass line might include a colorful variety of both melodic and chord playing instruments. Tonight’s basso continuo section includes: • Harpsichord, featuring plucked brass strings across a light wood frame, resulting in a delicate, transparent tone which contrasts with the strong iron frame and hammered tone of the modern piano • Baroque style organ, using a mechanical “tracker” mechanism instead of electronics to route air to each pipe This evening’s performance features suites, sinfonia and concerti by prominent composers from the 17th and early 18th century: § The prolific Antonio Vivaldi is known for his development of three- movement concerto form. An extravagant violinist, he carried the nickname “il prete roso” (the red priest) because of his red hair. § Johann Heinrich Schmelzer was recognized in his day as Vienna's foremost violin virtuoso and a leading composer.
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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
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ONYX4106.Pdf
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Danu Study Guide 11.12.Indd
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The Choral Cycle
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The Devolution of the Shepherd Trumpet and Its Seminal
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