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Use of the Simultaneous Cross-Relation by Sixteenth Century English and Continental Composers Tim Montgomery
University of Richmond UR Scholarship Repository Honors Theses Student Research 1968 Use of the simultaneous cross-relation by sixteenth century English and continental composers Tim Montgomery Follow this and additional works at: https://scholarship.richmond.edu/honors-theses Part of the Musicology Commons Recommended Citation Montgomery, Tim, "Use of the simultaneous cross-relation by sixteenth century English and continental composers" (1968). Honors Theses. 1033. https://scholarship.richmond.edu/honors-theses/1033 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. USE OF THE SIMULTANEOUS CROSS-RELATION BY SIXTEENTH CENTURY ENGLISH AND CONTINENTAL COMPOSERS Tim Montgomery Music H 391 LmnARY ~tJ=N-IVE-R-·SJTY OF RICHMOND YIRGINIA 2317S The principle of the s~multaneous cross-relation in vocal music has generally and commonly been associated with the English composers of the sixteenth century.(M p.71; R 824 n.J4) This ~ssumption has been more specifically connected with secular music, namely the English madrigal.(Dy p.13) To find the validity of this assumption in relation to both secular and sacred music I have C()mpared the available vocal music of three English composers, two major and one minor: Thomas Tallis (1505-1585), William Byrd (1.543-1623), and Thomas Whythorne (1528-1596). In deciding whether the simultaneous cross-relation was an aspect of English music exclusively, I examined vocal music of three composers of the continent, con temporaries of the English, for the use, if any, of the simul taneous cross-relation. -
Eastman Chorale Eastman Repertory Singers
Upcoming Concerts Events are free unless otherwise noted. Monday, November 23, 2020 Eastman Wind Orchestra Music of Susato, Strauss, and Sierra David Baker and Mark Davis Scatterday, conductors Kodak Hall at Eastman Theatre • 7:30PM Eastman Chorale William Weinert, conductor Eastman Repertory Singers Gilbert Donohue, Anna Lenti, and James Wolter, conductors Information about upcoming Eastman concerts and events can be found at: www.esm.rochester.edu/concerts/calendar.php Kodak Hall fi re exits are located along the Supporting the Eastman School of Music: right and left sides, and at the back of the hall We at the Eastman School of Music are grateful on each level. In the event of an emergency, you for the generous contributions made by friends, will be notifi ed by the stage manager. If notifi ed, parents, and alumni, as well as local and national please move in a calm and orderly fashion to the foundations and corporations. Gifts and grants nearest exit. to the School support student scholarships, performance and academic facilities, educational Sunday, November 22, 2020 Restrooms are located on each level of Kodak initiatives, and programs open to the greater Hall at Eastman Theatre Our ushers will be happy Rochester community. Every gift, no matter the to direct you to them. size, is vital to enhancing Eastman’s commitment Kodak Hall at Eastman Theatre to excellence. Please note: The use of unauthorized photo- For more information on making a gift, please 3pm graphic and recording equipment is not allowed visit www.esm.rochester.edu/advancement in this building. We reserve the right to ask anyone or contact the Advancement Offi ce by calling disrupting a performance to leave the hall. -
Missa Hercules Dux Ferrarie, Missa D'ung Aultre Amer & Missa
Gimell Other Masses by Josquin previously recorded by The Tallis Scholars Missa Ad fugam CDGIM 039 Missa Ave maris stella CDGIM 044 Missa Da pacem (formerly attrib.) CDGIM 052 Missa De beata virgine CDGIM 044 Missa Di dadi ‘The Dice Mass’ CDGIM 048 Missa Fortuna desperata CDGIM 042 Missa Gaudeamus CDGIM 050 Missa L’ami Baudichon CDGIM 050 Missa La sol fa re mi CDGIM 009 Missa L’homme armé sexti toni CDGIM 019 Missa L’homme armé super voces musicales CDGIM 019 Missa Malheur me bat CDGIM 042 Missa Mater Patris CDGIM 052 Missa Pange lingua CDGIM 009 Missa Sine nomine CDGIM 039 Missa Une mousse de Biscaye CDGIM 048 Cover illustration: Ercole I d’Este, Duke of Ferrara, by Dosso Dossi C A. De Gregorio / De Agostini Picture Library / Bridgeman Images 2 s mell Record i ve Barda. © 2013 G ve i Photo by Cl “With this ninth and final release in our Josquin Mass cycle, we come to three of his greatest works. Together they form a perfect showcase for a genius who felt challenged to make each setting different.” Peter Phillips 3 CONTENTS Track listing and credits page 5 Music note page 7 Sung texts and translation page 11 Notice en Français page 14 Textes chantés et traduction page 18 Kommentar auf Deutsch Seite 21 Gesangstexte und Übersetzung Seite 25 4 Josquin des Prés (c1450–1521) Missa Hercules Dux Ferrarie 27.29 Tu solus qui facis mirabilia 4.48 CONTENTS Kyrie 2.47 24. Tu solus qui facis mirabilia 1.47 1. Kyrie I 1.06 25. -
The Tallis Scholars 20.00 Concertzaal Nagesprek Met Peter 40 Jaar Bidden, Huilen, Juichen Phillips En Sofie Taes Biografieën Uitvoerders En Programma
zaterdag 05.10.2013 The Tallis Scholars 20.00 Concertzaal Nagesprek met Peter 40 jaar bidden, huilen, juichen Phillips en Sofie Taes Biografieën Uitvoerders en programma The Tallis Scholars (UK) werden in 1973, Peter Phillips (UK) studeerde renaissance Peter Phillips: dirigent Eric Whitacre (1970) veertig jaar geleden dus, opgericht door muziek in Oxford en begon daar uit interesse The Tallis Scholars: Sainte-Chapelle (2013), Belgische première Peter Phillips. Door talloze opnames en voor minder gekend repertoire een eigen Janet Coxwell, Amy Haworth, concerten groeiden ze uit tot een van ensemble. Bijna 2000 concerten en zestig Grace Davidson, Amy Wood: sopraan Michael Tippett (1905-1998) de meest toonaangevende uitvoerders cdopnames later staan The Tallis Scholars aan Caroline Trevor, Matthew Venner: alt Plebs angelica (1943-44) van renaissancepolyfonie en brachten de wereldtop van de vocale muziek. Naast die Christopher Watson, Ashley Turnell: tenor zo dit repertoire onder de aandacht van concerten treedt Peter Phillips geregeld op als Simon Whiteley, Greg Skidmore: bas John Tavener (1944) het grote publiek. De groep geeft zo’n gastdirigent, de afgelopen jaren onder meer Funeral Ikos (1981) zeventig concerten per jaar, veel daarvan bij Collegium Vocale Gent en het Nederlands — in de Verenigde Staten en Japan, en heeft Kamerkoor en nu bij het Chœur de Chambre Arvo Pärt (1935) een sterke band met de serie Choral at de Namur, Musica Reservata Barcelona en Thomas Tallis (ca.1505-1585) Magnificat(1989) Cadogan in Londen. Het jubileumwerk van het Tudor Choir Seattle. In eigen land werkt Loquebantur variis linguis a7 Eric Whitacre op dit programma is zeker niet hij veel met de BBC Singers. -
Pieter-Jan Belder the Fitzwilliam Virginal Book
95308 Fitzwilliam VB vol5 2CD_BL1_. 30/09/2016 11:06 Page 1 95308 The Fitzwilliam Virginal Book Volume 5 Munday · Richardson · Tallis Morley · Tomkins · Hooper Pieter-Jan Belder The Fitzwilliam Virginal Book Volume 5 Compact Disc 1 65’42 Compact Disc 2 58’02 John Munday 1555–1630 Anonymous Thomas Morley 1557 –1602 Anonymous & 1 Munday’s Joy 1’26 18 Alman XX 1’58 1 Alman CLII 1’33 Edmund Hooper 1553 –1621 2 Fantasia III, ( fair weather… ) 3’34 19 Praeludium XXII 0’54 2 Pavan CLXIX 5’48 12 Pakington’s Pownde CLXXVIII 2’14 3 Fantasia II 3’36 3 Galliard CLXX 3’00 13 The Irishe Dumpe CLXXIX 1’24 4 Goe from my window (Morley) 4’46 Thomas Tallis c.1505 –1585 4 Nancie XII 4’41 14 The King’s Morisco CCXLVII 1’07 5 Robin 2’08 20 Felix namque I, CIX 9’08 5 Pavan CLIII 5’47 15 A Toye CCLXIII 0’59 6 Galiard CLIV 2’28 16 Dalling Alman CCLXXXVIII 1’16 Ferdinando Richardson 1558 –1618 Anonymous 7 Morley Fantasia CXXIV 5’37 17 Watkins Ale CLXXX 0’57 6 Pavana IV 2’44 21 Praeludium ‘El. Kiderminster’ XXIII 1’09 8 La Volta (set by Byrd) CLIX 1’23 18 Coranto CCXXI 1’18 7 Variatio V 2’47 19 Alman (Hooper) CCXXII 1’13 8 Galiarda VI 1’43 Thomas Tallis Thomas Tomkins 1572 –1656 20 Corrãto CCXXIII 0’55 9 Variatio VII 1’58 22 Felix Namque II, CX 10’16 9 Worster Braules CCVII 1’25 21 Corranto CCXXIV 0’36 10 Pavana CXXIII 6’53 22 Corrãto CCXXV 1’15 Anonymous Anonymous 11 The Hunting Galliard CXXXII 1’59 23 Corrãto CCXXVI 1’08 10 Muscadin XIX 0’41 23 Can shee (excuse) CLXXXVIII 1’48 24 Alman CCXXVII 1’41 11 Pavana M.S. -
Download Booklet
Surround Sound SACDCD 9 Thomas Tallis CORO Sing and glorify According to the 17th-century witness who recounts the origins in the early 1570s of Spem in alium (track 1), Tallis’s 40-part motet was later revived ‘at the prince’s coronation’. By that, he must mean the investiture of Henry, James I’s eldest son, as Prince of Wales on 4 June 1610. By a happy coincidence, another source adds independent confirmation. It states that, following the investiture ceremony itself, the newly crowned prince dined in state at Whitehall to the sound of ‘music of forty several parts’. Clearly the new words that have been applied to Tallis’s music were written specially for the investiture, for they celebrate the ‘holy day’ in which Henry, ‘princely and mighty’, has been elevated by his new ‘creation’. At an event such as this, instruments would have joined voices to produce as rich and spectacular a sound as possible. In this recorded performance, we attempt to simulate that grandly sonorous noise. Thomas Tallis Sing and glorify heaven’s high majesty, for ever give it greeting, love and joy, Author of this blessed harmony. heart and voice meeting. Spem Sound divine praises with melodious graces. Live Henry, princely and mighty! This is the day, holy day, happy day; Henry live in thy creation happy! G IBBONS John Milsom ©2003 in alium B YRD Producer: Mark Brown The Sixteen Ltd., General Manager, Alison Stillman Music for Monarchs Engineer: Mike Hatch The Sixteen Productions Ltd., General Manager, Claire Long T OMKINS Digital mastering: Floating Earth www.thesixteen.com Organ Tuning: Keith McGowan For further information about The Sixteen and Magnates Recorded in May 2003 in All Saints Church, recordings on CORO or live performances Tooting, London and tours, call +44 (0) 1869 331 711, Design: Richard Boxall Design Associates or email [email protected]. -
APPENDIX 1 Inventories of Sources of English Solo Lute Music
408/2 APPENDIX 1 Inventories of sources of English solo lute music Editorial Policy................................................................279 408/2.............................................................................282 2764(2) ..........................................................................290 4900..............................................................................294 6402..............................................................................296 31392 ............................................................................298 41498 ............................................................................305 60577 ............................................................................306 Andrea............................................................................308 Ballet.............................................................................310 Barley 1596.....................................................................318 Board .............................................................................321 Brogyntyn.......................................................................337 Cosens...........................................................................342 Dallis.............................................................................349 Danyel 1606....................................................................364 Dd.2.11..........................................................................365 Dd.3.18..........................................................................385 -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
A Byrd Celebration
A Byrd Celebration William Byrd 1540–1623 A Byrd Celebration LECTURES AT THE WILLIAM BYRD FESTIVAL EDITED BY RICHARD TURBET CMAA Church Music Association of America Cover picture is of the Lincoln Cathedral, England, where William Byrd was the choirmaster and organ- ist for nine years, 1563–1572. Copyright © 2008 Church Music Association of America Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com TABLE OF CONTENTS Acknowledgments . .7 Preface . .9 BIOGRAPHY . .11 William Byrd: A Brief Biography . .13 Kerry McCarthy “Blame Not the Printer”: William Byrd’s Publishing Drive, 1588–1591 . .17 Philip Brett Byrd and Friends . .67 Kerry McCarthy William Byrd, Catholic and Careerist . .75 Joseph Kerman MASSES . .85 The Masses of William Byrd . .87 William Peter Mahrt Byrd’s Masses in Context . .95 David Trendell CANTIONES . .103 Byrd’s Musical Recusancy . .105 David Trendell Grave and Merrie, Major and Minor: Expressive Paradoxes in Byrd’s Cantiones Sacrae, 1589 . .113 William Peter Mahrt Savonarola, Byrd, and Infelix ego . .123 David Trendell William Byrd’s Art of Melody . .131 William Peter Mahrt GRADUALIA . .139 Rose Garlands and Gunpowder: Byrd’s Musical World in 1605 . .141 Kerry McCarthy The Economy of Byrd’s Gradualia . .151 William Peter Mahrt 5 6 — A Byrd Celebration ENGLISH MUSIC . .159 Byrd the Anglican? . .161 David Trendell Byrd’s Great Service: The Jewel in the Crown of Anglican Music . .167 Richard Turbet Context and Meaning in William Byrd’s Consort Songs . .173 David Trendell UNPUBLISHED MOTETS . .177 Byrd’s Unpublished Motets . -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
Programme Information
Programme information Saturday 18th April to Friday 24th April 2020 WEEK 17 THE FULL WORKS CONCERT: CELEBRATING HER MAJESTY THE QUEEN’S BIRTHDAY Tuesday 21st April, 8pm to 10pm Jane Jones honours a very special birthday, as Queen Elizabeth II turns 94 years old. We hear from several different Masters of the Queen’s (or King’s) Music, from William Boyce who presided during the reign of King George II, to Judith Weir who was appointed the very first female Master of the Queen’s Music in 2014. The Central Band of the Royal Air Force also plays Nigel Hess’ Lochnagar Suite, inspired by Prince Charles’ book The Old Man of Lochnagar. Her Majesty has also supported classical music throughout her inauguration of The Queen’s Music Medal which is presented annually to an “outstanding individual or group of musicians who have had a major influence on the musical life of the nation”. Tonight, we hear from the 2016 recipient, Nicola Benedetti, who plays Vaughan Williams’ The Lark Ascending. Classic FM is available across the UK on 100-102 FM, DAB digital radio and TV, at ClassicFM.com, and on the Classic FM and Global Player apps. 1 WEEK 17 SATURDAY 18TH APRIL 3pm to 5pm: MOIRA STUART’S HALL OF FAME CONCERT Over Easter weekend, the new Classic FM Hall of Fame was revealed and this afternoon, Moira Stuart begins her first Hall of Fame Concert since the countdown with the snowy mountains in Sibelius’ Finlandia, which fell to its lowest ever position this year, before a whimsically spooky dance by Saint-Saens. -
Josquin Des Prez: Master of the Notes
James John Artistic Director P RESENTS Josquin des Prez: Master of the Notes Friday, March 4, 2016, 8 pm Sunday, March 6, 2016, 3pm St. Paul’s Episcopal Church St. Ignatius of Antioch 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM CERDDORION Sopranos Altos Tenors Basses Gaude Virgo Mater Christi Anna Harmon Jamie Carrillo Ralph Bonheim Peter Cobb From “Missa de ‘Beata Virgine’” Erin Lanigan Judith Cobb Stephen Bonime James Crowell Kyrie Jennifer Oates Clare Detko Frank Kamai Jonathan Miller Gloria Jeanette Rodriguez Linnea Johnson Michael Klitsch Michael J. Plant Ellen Schorr Cathy Markoff Christopher Ryan Dean Rainey Praeter Rerum Seriem Myrna Nachman Richard Tucker Tom Reingold From “Missa ‘Pange Lingua’” Ron Scheff Credo Larry Sutter Intermission Ave Maria From “Missa ‘Hercules Dux Ferrarie’” BOARD OF DIRECTORS Sanctus President Ellen Schorr Treasurer Peter Cobb Secretary Jeanette Rodriguez Inviolata Directors Jamie Carrillo Dean Rainey From “Missa Sexti toni L’homme armé’” Michael Klitsch Tom Reingold Agnus Dei III Comment peut avoir joye The members of Cerddorion are grateful to James Kennerley and the Church of Saint Ignatius of Petite Camusette Antioch for providing rehearsal and performance space for this season. Jennifer Oates, soprano; Jamie Carillo, alto; Thanks to Vince Peterson and St. Paul’s Episcopal Church for providing a performance space Chris Ryan, Ralph Bonheim, tenors; Dean Rainey, Michael J. Plant, basses for this season. Thanks to Cathy Markoff for her publicity efforts. Mille regretz Allégez moy Jennifer Oates, Jeanette Rodriguez, sopranos; Jamie Carillo, alto; PROGRAM CREDITS: Ralph Bonheim, tenor; Dean Rainey, Michael J. Plant, basses Myrna Nachman wrote the program notes.