DOCSLIB.ORG

Luís De Freitas Branco (1890-1955)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Luís De Freitas Branco (1890-1955) Luís de Freitas Branco (1890-1955) Direcção Artística: JOÃO VAZ · ANTÓNIO DUARTE Organização: JUVENTUDE MUSICAL PORTUGUESA Sé Patriarcal de Lisboa, Igreja de São Vicente de Fora, Igreja de São Roque, Igreja de Santo António de Lisboa, Igreja de São Luís dos Franceses, Basílica da Estrela, Basílica do Palácio Nacional de Mafra Entrada livre em todos os concertos Sexta-feira, 23 de Setembro, 21.30h Sé Patriarcal de Lisboa Concerto de Abertura Música Sacra Parisiense do Novecentos Jehan Alain Litanies órgão* Jean Langlais Arabesque (n.º 3 das 24 Pièces) órgão** Francis Poulenc Litanies à la Vierge Noire coro*** e órgão* André Fleury Andante (n.º 9 das 24 Pièces) órgão** Pierre Villette Hymne à la Vierge O Salutaris Hostia coro**** Louis Vierne Choral (n.º 16 das 24 Pièces en Style Libre) órgão** Charles-Marie Widor Missa para dois coros e dois órgãos, op. 36 Kyrie Gloria Sanctus Benedictus Agnus Dei dois coros***** e dois órgãos * João Vaz órgão ** António Duarte órgão de coro *** Coro Infantil do Instituto Gregoriano de Lisboa Armando Possante direcção **** Coro de Câmara de Lisboa Teresita Gutierrez Marques direcção ***** Coro de Câmara do Instituto Gregoriano de Lisboa ***** Coro Masculino da Escola de Música do Conservatório Nacional de Lisboa Paulo Brandão Direcção Sábado, 24 de Setembro, 21.30h Igreja de Santo António de Lisboa Recital de Trompete e Órgão Claude Gervaise Suite de 8º tom Largo Allegretto Andante Risolutto Moderato Animato Manuel Rodrigues Coelho Kyrie do 1º tom, 5 versos * Dietrich Buxtehude Ciacona em Mi Menor, BuxWV 160 * Georg Philipp Telemann Suite Heróica A Majestade A Fé O Amor A Generosidade A Esperança O Júbilo Johann Sebastian Bach Prelúdio de Coral «Aus der Tiefe rufe ich», BWV 745 * Bach–Vivaldi Concerto em Ré Menor, BWV 596 * Allegro Grave Fuga Largo Allegro Georg Friedrich Haendel Concerto em Fá Menor Grave Fuga Adagio Allegro Pedro Monteiro trompete * Antoine Sibertin-Blanc Órgão Domingo, 25 de Setembro, 17.30h Basílica do Palácio Nacional de Mafra Concerto a Dois Órgãos Bernardo Pasquini Sonata «Due cembali» I (Ré Maior) Sonata III (Ré Menor) William Byrd The Battle a) The Soldiers' Summons b) The March of Footmen c) The March of Horsemen d) The Trumpets e) The Irish March f) The Bagpipe and the Drone g) The Flute and the Drum h) The march to the fight Tara-Tantarra The Battle Joined i) The Retreat The Burying of the Dead j) The Galliarde for the Victorie Bernardo Pasquini Sonata VIII «In die Beati Aloisii» (Sol Menor) Sonata XII (Si bemol Maior) Nicholas Carlton A Verse for two to play on one Virginal or Organs Giles Farnaby For two Virginals John Dowland My Lord Willoughby's Welcome Home Thomas Tomkins A Fancy for two to play Johann Sebastian Bach Concerto Brandeburguês n.º 4, BWV 1049 (transcrição para dois órgãos de Jean Ferrard) Allegro Andante Presto Jean Ferrard órgão Thomas Deserranno órgão Segunda-feira, 26 de Setembro, 21.30h Sé Patriarcal de Lisboa Música Belga Abraham van den Kerckhoven Prelúdio e Fuga em Ré Menor [360] Fantasia em Dó Menor Lambert Chaumont Suite du 6.ème ton Prélude – Fugue grave – Trio par contrefugue – Cornet – Duo – Duo en gigue – Dessus de Tierce ou Cornet – Basse de cromhorne – Écho – Tierce en taille – Dialogue – Plein jeu Clément Loret 2 Études (sans pédales) (do 1.º livro dos 24 Études pour orgue) 2 Études (avec pédales) (do 2.º livro dos 24 Études pour orgue) César Franck Fantaisie, op. 16 (das Six Pièces) Pierre Froidebise Sonatine pour orgue Choral varié (In memoriam Samuel Scheidt) Cantilène (In memoriam Louis Vierne) Capriccio (In memoriam Dietrich Bustehude) Flor Peeters Élégie, op. 38 Benoît Mernier Invention I Invention II Jean Ferrard órgão Terça-feira, 27 de Setembro, 21:30h Igreja de São Roque Recital de Cravo e Órgão Jan Pieterszoon Sweelinck Praeludium Heinrich Scheidemann Englische Mascarata Praeludium (1637) Johann Caspar Ferdinand Fischer Chaconne em Fá Maior Johann Sebastian Bach Prelúdio de Coral «Liebster Jesu, wir sind hier», BWV 731 Prelúdio de Coral «Allein Gott in der Höh sei Ehr», BWV 717 Johann Adam Reincken Toccata em Sol Menor órgão Antoine Forqueray La Marella Sarabande La d’Aubonne La Buisson La Saincy Johann Sebastian Bach Fantasia em Dó Menor, BWV 1121 Aria Variata alla Maniera Italiana, BWV 989 cravo Gustav Leonhardt cravo e órgão Sábado, 1 de Outubro, 21.30h Igreja de São Vicente de Fora Música Ibérica Antonio Soler Sonata de Clarines António Carreira Tento sobre «Com qué la lavaré la flor de la mi cara» Pedro de Araújo Obra de 1º tom sobre a Salve Regina Sebastián Aguilera de Heredia Primera Obra de primer tono sobre el paso de la Salve José Ximénez Vajo a 3 Andrés de Sola Tiento de Medio Registro de mano derecha de primer tono Francisco Correa de Arauxo Tiento y Discurso de 2º tono Juan Cabanilles Tiento de Lleno de «Pange Lingua» de 5º tono Carlos Seixas Sonata XIX Hilarión Eslava 2 Versos sobre «Veni Creator» José Luis Echechipía S. V. F. Homenaje José Ximenéz Batalla de 6º tono José Luis Echechipía órgão Domingo, 2 de Outubro, 16.30h Sé Patriarcal de Lisboa Música Antiga Boémia e Checa Josef Ferdinand Norbert Seger Tocata e Fuga em Dó Maior Tocata e Fuga em Mi Menor Tocata e Fuga em Sol Menor Jan Ktitel Vahal Preambulum em Sol Maior Preambulum em Dó Maior Jan Ktitel Kucha Partita em Dó Maior Josef Klika Fantasia Concertante sobre o poema sinfónico «Vyšehrad» (Bedich Smetana) František Musil Sonata Solemnis Allegro Canon (Andante) Fuga (Energico) Petr Eben Moto Ostinato (n.º 3 de Sunday Music) Pavel Kohout órgão Quinta-feira, 6 de Outubro, 21.30h Igreja de São Luís dos Franceses Música Coral e para Órgão de Luís de Freitas Branco Tantum Ergo (três vozes e órgão) Prelúdio e Fuga sobre si mi lá ré dó Veni Sancte Spiritus (uma voz e órgão) Veni Sancte Spiritus (duas vozes e órgão) O Salutaris (uma voz e órgão) Tota pulchra es (uma voz e órgão) O Gloriosa (uma voz e órgão) Suite Ancienne Prélude Allemande Menuet Gigue Bendito (uma voz e órgão) Hino a Santa Teresinha (uma voz e órgão) Responsórios do Espírito Santo (três vozes e órgão) Invitatorium Responsorium I Responsorium II Responsorium III Rapsódia Portuguesa Chant Religieux Portugais Aria Choral Grupo Vocal Olisipo Armando Possante direcção António Duarte órgão Sexta-feira, 7 de Outubro Igreja de São Roque Dia ECHO – Festa Europeia do Órgão 13:30h Rafael Reis – órgão Jan Pieterszoon Sweelinck Variação sobre a canção secular «Est-ce Mars» Francisco Correa de Arauxo Segundo Tento do Quarto Tom (Facultad Organica, XVI) Carlos Seixas Sonata em Lá Menor (fuga para órgão), FCGXXII Johann Sebastian Bach Prelúdio de Coral «Schmücke dich, o liebe Seele», BWV 654 Prelúdio e Fuga em Mi Menor, BWV 548 14:10h * André Bandeira – órgão ** Celina Martins – órgão Johann Sebastian Bach Prelúdio em Mi bemol Maior, BWV 552a * Prelúdio de Coral «An Wasserflüssen Babylon», BWV 653 ** Prelúdio de Coral «Christ, unser Herr, zum Jordan kam», BWV 684 ** Fuga em Mi bemol Maior, BWV 552b * 14:50h Miguel Matos – órgão Dietrich Buxtehude Prelúdio e Fuga em Sol Maior, BuxWV147 Prelúdio de Coral «Nun bitten wir den heiligen Geist», BuxWV 208 Prelúdio de Coral «Danket dem Herrn, denn er ist sehr freundlich», BuxWV 181 Johann Sebastian Bach Prelúdio e Fuga em Sol Menor, BWV 558 Prelúdio de Coral «Jesu, Meine Freude», BWV 610 Prelúdio de Coral «Wenn wir in höchsten Nöthen sein», BWV 641 Prelúdio de Coral «Christ lag in Todesbanden», BWV 625 Prelúdio e Fuga em Mi Menor, BWV 555 15:30h David Pacetti Correia – órgão Nicolaus Bruhns Prelúdio em Mi Menor Dietrich Buxtehude Prelúdio de Coral «Jesus Christus, unser Heiland», BuxWV 198 Ciacona em Mi Menor, BuxWV 160 Carl Philipp Emanuel Bach Sonata em Fá Maior, Wq. 70 n.º 3 Allegro Largo Allegretto 16:10h Ana Raquel Rodrigues – órgão Dietrich Buxtehude Prelúdio em Sol Menor, BuxWV 149 Prelúdio de Coral «In dulci jubilo», BuxWV 197 Johann Sebastian Bach Prelúdio de Coral «Nun komm, der Heiden Heiland», BWV 659 Prelúdio e Fuga em Si Menor, BWV 544 16:50h João Segurado – órgão Dietrich Buxtehude Prelúdio em Fá sustenido Menor, BuxWV 146 Johann Sebastian Bach Prelúdio de Coral «Nun komm’ der Heiden Heiland», BWV 599 Prelúdio de Coral «In dulci jubilo», BWV 608 Prelúdio de Coral «Das alte Jahr vergangen ist», BWV 614 Prelúdio de Coral «Herr Gott, nun schleuss den Himmel auf», BWV 617 Prelúdio de Coral «Dies sind die heil'gen zehn Gebot’», BWV 635 Prelúdio de Coral «Wer nur den lieben Gott lässt walten», BWV 642 Fantasia e Fuga em Sol Menor, BWV 542 17:30h Pedro Crisóstomo – órgão Pedro de Araújo Consonâncias do 1.º Tom Obra de Passo Solto de 7.º Tom Fantasia do 8.º Tom Girolamo Frescobaldi Tocata Segunda (do 2.º Livro de Tocatas) Tocata Terça (para a Elevação) (do 2.º Livro de Tocatas) Bergamasca (das Fiori Musicali) Carlos Seixas Sonata em Lá Menor Johann Sebastian Bach Prelúdio e Fuga em Lá Menor, BWV 559 18:10h Sérgio Silva – órgão Johann Sebastian Bach Sonata em Sol Maior, BWV 530 [Vivace] [Lento] [Allegro] Fantasia em Dó Menor, BWV 562 Prelúdio e Fuga em Ré Maior, BWV 532 18:50h Artur Caldas – órgão Johann Pachelbel Ciacona em Fá Menor Dietrich Buxtehude Passacaglia em Ré Menor, BuxWV 161 Johann Sebastian Bach Passacaglia em Dó Menor, BWV 582 Sexta-feira, 7 de Outubro, 21.30h Sé Patriarcal de Lisboa Johann Sebastian Bach Tocata, Adágio e Fuga em Dó Maior, BWV 564 Partite diverse sopra «Sei gegrüsset, Jesu gütig», BWV 768 «Allein Gott in der Höh sei Ehr», BWV 675 (Canto fermo in Alto) Trio super «Allein Gott in der Höh sei Ehr», BWV 676 Fughetta super «Allein Gott in der Höh sei Ehr», BWV 677 Prelúdio e Fuga em Ré Maior, BWV 532 Wolfgang Zerer órgão Sábado, 8 de Outubro, 21.30h Igreja de São Vicente de Fora Música Antiga Alemã Georg Muffat Toccata decima (do Apparatus Musico-Organisticus) Johann Sebastian Bach Partita sopra «Ach, was soll ich Sünder machen?», BWV 770 Carl Philipp Emanuel Bach Sonata em Fá Maior, Wq.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Pioneering Contribution of Macario Santiago Kastner
    nova série | new series 4/1 (2017), pp. 141-166 ISSN 2183-8410 http://rpm-ns.pt Programming Early Portuguese Repertoires Beyond the Pyrenees: The Pioneering Contribution of Macario Santiago Kastner Sonia Gonzalo Delgado [email protected] Resumo Macario Santiago Kastner (1908-92) é reconhecido como ‘o primeiro que entre nós soube escrever o nome de Portugal no mapa da musicologia internacional’ (Manuel Carlos de Brito 1989). Kastner estabeleceu-se em Lisboa, em 1934, e dedicou parte do seu percurso a descobrir a música portuguesa e espanhola dos séculos XVI a XVIII. Fascinado pela música ibérica desde o início da década de 30, dedicou-se à programação de repertório português para tecla por toda a Europa, desenvolvendo uma longa carreira como intérprete. Kastner foi, ao longo dessa década, o primeiro a interpretar Carlos Seixas em Sofia, Amesterdão e Helsínquia, também o primeiro a publicar uma colecção de peças portuguesas para tecla – Cravistas Portuguezes (1935) – e pioneiro na introdução do clavicórdio na interpretação desse repertório de acordo com a sua visão da prática instrumental historicamente informada. Existe um grande número de fontes por explorar (programas de concertos, recensões de concertos, correspondência com o seu mentor Joan Gibert Camins, o seu currículo pessoal e brochuras promocionais), preservadas na Biblioteca Nacional de Portugal e na Biblioteca de Catalunya, entre as quais se podem encontrar documentos relativos ao início da sua carreira. Pretende-se neste artigo analisar a actividade de Kastner na década de 30 na promoção da música portuguesa por toda a Europa, com particular ênfase nas estratégias de configuração dos programas – tanto do repertório, como da abordagem organológica – de forma a criar um nicho para a expansão no mercado da música antiga.
    [Show full text]
  • Spring 2014 Newsletter
    Newsletter VOLUME 3, NO. 1 Spring 2014 ISSN 2328-5621 FOUR CENTURIES OF MASTERPIECES: KEYBOARDS AND THEIR MUSIC The National Music Museum on the Campus of the University of South Dakota Vermillion, South Dakota, May 14 to 17, 2014 The 2014 HKSNA meeting will be hosted by National Music Museum (NMM) in Vermillion, South Dakota, May 14th to 17th. Inspired by the breadth of the NMM’s superlative collection of his- torical keyboard instruments, the theme “Four Centuries of Master- pieces: Keyboards and Their Music” will be celebrated in a daz- zling series of events over three days and four nights. Featured per- formances by internationally renowned artists will explore reper- toire and instruments spanning the centuries from the early 1500s to the mid-1800s. Founded in 1973 on the campus of the University of South Da- kota in Vermillion, the National Music Museum is one of the great institutions of its kind in the world. Its renowned collections, which The National Music Museum. Photo by Tony Jones. include more than 15,000 American, European, and non-Western instruments from virtually all cultures and historical periods, are the most inclusive anywhere. The NMM is a partnership between the USD, which provides staff and facilities for preser- vation, teaching, and research, and the Board of Trustees of the NMM, a non-profit corporation that is responsible for acquisitions, public exhibiting, and programming. The Museum’s meteoric rise to world-class status has attracted inter- national attention, and each year it attracts thousands of visitors and researchers who make the journey to Vermillion from all fifty states and many other countries.
    [Show full text]
  • The Harpsichord: a Research and Information Guide
    THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo.
    [Show full text]
  • Programm MUSIK MAI in DER JUNI KLOSTERKIRCHE AUGUST MURI SEPTEMBER
    programm MUSIK MAI IN DER JUNI KLOSTERKIRCHE AUGUST MURI SEPTEMBER www.murikultur.ch inspiriert 2016 | 02 | Vorwort | Saison 2016 Stimmt an die Saiten, ergreift die Leier, lasst euren Lobgesang erschallen ... Joseph Haydn - Die Schöpfung Et resurrexit, et resurrexit tertia die secundum scripturas ... Luigi Gatti - Schöpfungsmesse ie Musik in der Klosterkirche Muri 2016 beginnt mit einem festlichen Gottes- Ddienst: Am Pfingstsonntag wird der Projektchor Muri zusammen mit vier Solisten und dem Capriccio Barockorchester Luigi Gattis Schöpfungsmesse zur Aufführung bringen. Darin erweist der Salzburger Hof- und Domkapell- meister zu Beginn des 19. Jahrhunderts einem berühmten zeitgenössischen Werk die Ehre: Seine geschickte Unterlegung des Textes der Messe holt eine Auswahl von Arien und Chören aus Joseph Haydns Oratorium Die Schöpfung in gekonnt reduzierter Instrumentation vom Konzertsaal in die Liturgie. Saison 2016 | Vorwort | 03 | Noch im Mai bringt das Freiburger Dufay En- semble im Hochchor der Klosterkirche Muri mit Giovanni Pierluigi da Palestrinas sagenumwobe- ner Missa Papae Marcelli eine weitere Vertonung des Messordinariums zu Gehör. Als 24stimmige Komposition in fünf Chören findet Georg Muffats Missa in labore requies im Oktogon der Kloster- kirche Muri eine perfekte Aufführungssituation vor. Diese haben die Cappella Murensis und das Ensemble Les Cornets Noirs für eine Aufnahme dieses Werks nutzen dürfen, die sie im Juni vor- stellen möchten. Bescheidener, aber nicht weniger passend für die Klosterkirche Muri präsentiert sich die Missa ab octo des Luzerner Komponisten Johannes Benn, der seinen Lebensabend im Kloster Muri verbracht hat: Das 1644 gedruckte Werk stellt den musikalischen Beitrag der Cappella Murensis zum Gottesdienst am Fest des Hl. Leon- tius dar. Vor dem Hintergrund dieser langen Tradition er- fährt der griechisch-lateinische Ordinariumstext, durchbrochen von deutscher, englischer, franzö- sischer und schwedischer Lyrik, in Silvan Lohers Messe ein weiteres Mal musikalische Ausdeutung.
    [Show full text]
  • CONCERTO DOS CLÉRIGOS 0 1 / a G O S T O | 1 2 H 0 0 I G R E J a D O S C L É R I G O S
    CONCERTO DOS CLÉRIGOS 0 1 / A g o s t o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JOHANN KASPAR FERDINAND FISCHER (c. 1656 -1746) Suite Uranie . Toccata . Allemande . Courante . Sarabande . Gavotte . Gigue . Riguadon . Menuet . Passacaglia JEAN- BAPTISTE LULLY (1632 – 1687) Cuatro Piezas de Clarines O r g a n i s t a : F e r n a n d o C r u z CONCERTO DOS CLÉRIGOS 0 2 / A g o s t o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A PIETER CORNET (1583-1626) Toccata del 3º Tono Salve Regina (5 versos) Courante (4 variações) Fantasia O r g a n i s t a : R u i S o a r e s CONCERTO DOS CLÉRIGOS 0 3 / A g o s t o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A Concerto Nº 1 em Ré M, BWV 972 - Vivaldi/Bach Allegro Larghetto Allegro Concerto Nº 3, BWV 974 – Marcelo/Bach Allegro Adagio Presto O r g a n i s t a : R u i S o a r e s CONCERTO DOS CLÉRIGOS 0 4 A g o s t o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A Georg Bohem (1661-1733) Praeludium, Fuge und Postludium Johann Pachelbel (1653-1706) do “Hexachordum Apollinis”: Aria Quinta (Aria com 6 variações) Anónimo, Camphuysen Manuscript, Holanda, séc.XVII, Daphne (3 variações) Dietrich Buxtehude (1637-1707) Toccata in G BuxWV165 O r g a n i s t a : A n t ó n i o P e d r o s a CONCERTO DOS CLÉRIGOS 0 5 / A g o s t o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A Jan Pieterszoon Sweelinck (1562-1621) Es-ce mars? Echo Fantasia in a Allein Gott in der Hoeh sey Ehr Fantasia mit Bindungen Balleth del granduca O r g a n i s t a : A n t ó n i o P e d r o s a CONCERTO DOS CLÉRIGOS 0 6 / A g o s t o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A Pedro de Araújo (Portugal c.
    [Show full text]
  • Chronology the Early Baroque Era
    Chronology The Early Baroque Era MUSIC AND MUSICIANS POLITICS, WAR, RULERS 1600 Euridice, pastoral opera by Jacopo 1600 Henri IV, having divorced Margaret Peri (1561-1633) and Giulio Caccini of Valois, marries Maria de' Medici. (c1545-1618), given for wedding of Maria de' Medici and Henri IV of France, Florence. Rappresentatione di Anima, et di Corpo by Emilio de' Cavalieri (c1550--1602) performed before the Collegio Sacro, Rome. G.M. Artusi publishes criticisms of Monteverdi's contrapuntal licence in his madrigals. 1601 Claudio Monteverdi (1567-1643) 1601 The Earl of Essex leads a rebellion appointed maestro di cappella at Mantua. against Queen Elizabeth I; he is tried for Luzzaschi publishes virtuoso madrigals treason and executed. composed for the ladies of Ferrara. Thomas Morley (c1557-1602) issues The Triumphes of Oriana, madrigals honouring Elizabeth I. 1602 Cavalieri (c52) dies, Rome. Caccini publishes Le nuove musiche, Florence. First book of madrigals by Salamone Rossi 1603 Death of Queen Elizabeth I; (1570--cl630) (with unfigured bass) and accession ofJames VI of Scotland as Cento concerti ecclesiastici by Lodovico James I of England. Amnesty in Ireland. Viadana (c1560--1627) (with continuo) published, Venice. 1604 Caccini family in Paris at the 1604 'False Dmitry' defeated by Tsar invitation of Maria de' Medici. Boris of Russia (d 1605). Incorporation of the Company of Musicians in London. Lachrimae or Seaven Teares by John Dowland (1563-1626) published, London. 50 pseaumes de David, polyphonic Psalter setting by Jan Pieterszoon Sweelinck ( 1562-1621), published, Amsterdam. 1605 Monteverdi replies to Artusi's 1605 Death of Pope Clement VIII; criticisms in his fifth book of madrigals.
    [Show full text]
  • Cicle Els Orgues De Catalunya
    XXXV Cicle Els Orgues de Catalunya Organitza: juliol - agost 2015 Patrocina: Col·laboren: www.acorgue.cat ELS CONCERTS Juliol 1 BARCELONA, Santa Maria del Mar MONTSERRAT TORRENT 5 RINER, Santiuari del Miracle MONTSERRAT TORRENT 11 MONTBLANC, Parròquia de Santa Maria FELIPE LÓPEZ 15 GIRONA, Catedral JOAN CASALS 19 CADAQUÉS, Parròquia de Santa Maria MODEST MORENO 19 SITGES, Parròquia de Sant Bartomeu i Santa Tecla JOAN PARADELL 21 CASTELLÓ D’EMPÚRIES, Basílica de Santa Maria JOAN PARADELL 24 BERGA, Parròquia de Santa Eulàlia JOAN CASALS 25 VALLMOLL, Parròquia de Santa Maria FRANCESC PI, orgue MARIÀ FRANCO, tenora 26 IGUALADA, Basílica de Santa Maria FRANCESC PI, orgue MARIÀ FRANCO, tenora 31 MONTBRIÓ DEL CAMP, Parròquia de Sant Pere Apòstol DANIEL PARACHE Agost 1 EL PLA DE SANTA MARIA, Església romànica BERNAT BAILBÉ 2 LA POBLA DE CÉRVOLES, Parròquia de la M. D. de la Jonquera DANIEL PARACHE 4 TORREDEMBARRA, Parròquia de Sant Pere Apòstol MARCEL MARTÍNEZ 7 EL VENDRELL, Parròquia de Sant Salvador JORDI PAJARES 8 TORROJA DEL PRIORAT, Parròquia de Sant Miquel MARCEL MARTÍNEZ 8 ÀGER, Parròquia de Sant Vicenç MODEST MORENO 9 ULLDEMOLINS, Parròquia de Sant Jaume Apòstol HÈCTOR PARÍS 14 VILAFRANCA DEL PENEDÈS, Basílica de Santa Maria JORDI PAJARES 15 VIELHA, Parròquia de Sant Miquèu PABLO TABOADA 16 TALARN, Parròquia de Sant Martí HÈCTOR PARÍS 21 L'ALEIXAR, Parròquia de Sant Martí PABLO TABOADA 23 SANT LLORENÇ DE MORUNYS, Parròquia de Sant Llorenç BERNAT BAILBÉ 27 MONESTIR DE MONTSERRAT, Basílica de Santa Maria FELIPE LÓPEZ Entrada lliure, aportació econòmica voluntària: el vostre suport ajuda a fer possible la continuïtat d’aquest cicle de concerts.
    [Show full text]
  • Reviews of This Artist
    Rezension für: Martin Neu Bach and the North German Tradition Vol. I Dietrich Buxtehude | Georg Böhm | Johann Sebastian Bach SACD aud 92.547 Nordbayerische Nachrichten 18. März 2010 (Matthias Kronau - 2010.03.18) Norddeutsche Tradition aus Herzogenaurach Eine neue Orgel-CD lässt die Ahrend-Orgel in St. Otto weltweit erklingen Norddeutsche Tradition aus Herzogenaurach Full review text restrained for copyright reasons. Falter Woche 12/2010 vom 24.3.2010 (Seite 24) (Carsten Fastner - 2010.03.24) Bach für Kenner, Liebhaber und Entdecker Bach für Kenner, Liebhaber und Entdecker Full review text restrained for copyright reasons. Fono Forum Mai 2012 (Friedrich Sprondel - 2012.05.01) Wege zu Bach Bach nahm so viele Einflüsse in seine Orgelmusik auf, dass sich einem neugierigen Interpreten viele Wege zu ihm auftun – und manche Aufnahme zeigt, dass auch noch neue zu begehen sind. Die Britin Margaret Philips bringt ihre Bach-Gesamteinspielung in Doppelfolgen heraus; jede Scheibe ist dabei einem prominenten Instrument gewidmet. In Folge sechs ist das, neben der neuen Aubertin-Orgel der Pariser Kirche St Louis en I' Île, die legendäre Müller-Orgel der Bavokerk in Haarlem; Folge sieben wurde an der Hildebrandt-Orgel von 1728 in Sangerhausen und an der grandiosen Silbermann-Orgel der Freiberger Petrikirche aufgezeichnet. Philips spielt tadellos und mit sicherem Geschmack in Tempo und Registerwahl. Interessant ist, welche der großen Orgelwerke sie welchem Instrument zuweist. So erklingen in Folge sechs die großen Präludien und Fugen in e- und h-Moll
    [Show full text]
  • 03 Von Johannes 55-80
    ANUARIO MUSICAL, N.º 61 enero-diciembre 2006, 55-80 ISSN: 0211-3538 AM FUßE DES VULKANS - ORGELKUNST UND KONTRAPUNKT IN NEAPEL UM 1600 von JOHANNES RING Zusammenfassung: 1575 veröffentlichte Rocco Rodio in Neapel in seinem Libro di ricercate eine Fantasia über den Kirchenhymnus “Ave maris stella”. Im Kontext der progressiven Beiträge zur Tastenmusik seiner italienischen Zeitgenossen Antonio Valente (1575), Claudio Merulo und Andrea Gabrieli erscheint Rodios Cantus firmus-Satz geradezu anachronistisch. Doch Rodios Intention ist die des Kontrapunktikers. Für ihn war die kontrapunktische Kunst die entscheidende Basis des kompositorischen Handwerkes. Rodios Intention wird beleuchtet durch das Umfeld seines Wirkens –den diskussionsfreudigen Akademien in Neapel– und durch Ereignisse in Rom und Palermo, die im Auftritt des Spaniers Sebastián Raval gipfeln. Ihren eigentlichen musikhistorischen Kontext findet Rodios „Ave maris stella“ in der (liturgischen) Orgelmusik von Antonio de Cabezón, Manuel Rodriguez Coelho und Jean Titelouze und vielleicht sogar von António Carreira. Abstract (At the Foot of the Volcano - Organ and Counterpoint in Naples around 1600). In 1575, Rocco Rodio published a “Fantasia” on the hymnus “Ave maris stella” in Naples in his Libro di ricercate. In the context of the progressive contributions to music for keyboard instruments of his contemporaries Antonio Valente (1575), Claudio Merulo and Andrea Gabrieli, Rodio’s setting of cantus firmus seems nothing short of anachronistic. But Rodio’s intention lies in the implementation of counterpoint. For him, the art of counterpoint was the decisive basis of the composer’s craft. Rodio’s inten- tion is illuminated by the circumstances of his creative activity –the academies in Naples, always eager to dispute,– and by certain events in Rome and Palermo that culminated in the appearance of the Spaniard named Sebastián Raval.
    [Show full text]
  • The Origins, History, and Development of the Tiento De Medio Registro from the Sixteenth to the Eighteenth Century
    THE ORIGINS, HISTORY, AND DEVELOPMENT OF THE TIENTO DE MEDIO REGISTRO FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY By ©2015 HEATHER LYNN PAISAR Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degrees of Doctor of Philosophy and Doctor of Musical Arts. ________________________________ Chairperson, Dr. Paul Laird ________________________________ Co-chairperson, Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Roberta Freund Schwartz ________________________________ Dr. Scott Brandon Murphy ________________________________ Dr. Luis Corteguera Date Defended: May 12, 2015 The Dissertation Committee for Heather Lynn Paisar certifies that this is the approved version of the following dissertation: THE ORIGINS, HISTORY, AND DEVELOPMENT OF THE TIENTO DE MEDIO REGISTRO FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY ________________________________ Chairperson, Dr. Paul Laird ________________________________ Co-chairperson, Dr. Michael Bauer Date approved: May 12, 2015 ii ABSTRACT “The Origins, History, and Development of the Tiento de medio registro from the Sixteenth to the Eighteenth Century” The tiento de medio registro was one of the most popular types of organ music in the Iberian Peninsula from the late sixteenth century until the beginning of the eighteenth century. A subgenre of the tiento, this form was originally developed in the 1530s as a means to “try out” a lute
    [Show full text]
  • Ely Cathedral Choir
    Index Page Choral Music Choir of St Paul’s Cathedral 3 Choir of Guildford Cathedral 3 Coro Cervantes 3 Vasari Singers 4 Choir of Lincoln College, Oxford 5 Choir of Gonville and Caius College, Cambridge 5 Choir of Queens’ College Cambridge 6 Clare College Chapel Choir 6 Saint Louis Chamber Chorus 7 Chapter House Choir, York 7 Cambridge University Chamber Choir 7 Choir of Belfast Cathedral 7 Choir of the Queen’s College, Oxford 8 Ely Cathedral Choir 8 Lincoln Cathedral Choir 8 Various Choirs 9 / 10 / 11 / 12 Vocal 13 / 14 / 15 Instrumental Complete Organ Works of Marcel Dupré 16 Music for Organ 17 / 18 / 19 / 20 Music for Organ & Violin 20 Music for Organ, Harpsichord, Muselar 20 Music for Clavichord 20 Music for Piano 21 / 22 / 23 Music for Piano & Cello 24 Music for Piano & Flute 24 Music for Piano & Violin 25 Music for Flute & Harp 26 Music for Guitar 27 Music for Lute 27 Various Instruments 28 / 29 Chamber Music Piano Trios 30 Various Ensemble 31 / 32 / 33 / 34 Music for Brass 34 Opera 35 Orchestral Music 36 / 37 with Organ 38 with Solo Instrument 39 / 40 World Music 40 CD List 41 / 42 / 43 / 44 / 45 Distributors 46 2 Choral Music THE CHOIR OF ST PAUL’S CATHEDRAL CORONATION ANTHEMS & HYMNS (GMCD 7102) Directed by Barry Rose / Christopher Dearnley Organ “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune from “King Arthur” - Henry Purcell;
    [Show full text]