The Programme
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
{Dоwnlоаd/Rеаd PDF Bооk} Savonarola Ebook Free Download
SAVONAROLA PDF, EPUB, EBOOK Elbert Hubbard | 38 pages | 10 Sep 2010 | Kessinger Publishing | 9781169194724 | English | Whitefish MT, United States Savonarola PDF Book Subsequently, Florence was governed along more traditional republican lines, until the return of the Medici in In he became prior of the monastery of San Marco. Character and influence Savonarola's religious actions have been compared to those of the later 17th and 18th century Jansenists, although theologically many differences exist. As the Pope himself frankly confessed, it was the Holy League that insisted. This tense situation came to a head on Palm Sunday, , when a mob comprised of approximately people converged on San Marco, where Savonarola acted as prior. Rather, he wanted to correct the transgressions of worldly popes and secularized members of the Papal Curia. Having made many powerful enemies, the Dominican friar and puritan fanatic Girolamo Savonarola was executed on 23 May That when you were chosen for such a grace: how greatly you are favored to have been made worthy of the blessings and felicity promised to you…. Savonarola ultimately proved unsuccessful in stamping out what had been a longstanding facet of Florentine culture. Berkeley: University of California Press, There he began to preach passionately about the Last Days, accompanied by testimony about his visions and prophetic announcements of direct communications with God and the saints. He drew up letters to the rulers of Christendom urging them to carry out this scheme which, on account of the alliance of the Florentines with Charles VIII, was not altogether beyond possibility. The papal delegates , the general of the Dominicans and the Bishop of Ilerda were sent to Florence to attend the trial. -
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. -
UNIVERSITY SINGERS Gregory Gilmore and David Rayl, Conductors
University of Missouri-Columbia School of Fine Arts Department of Music Event No. 130 in the 1996-97 Series UNIVERSITY SINGERS Gregory Gilmore and David Rayl, conductors 8:00 p.m. Saturday, April 12, 1997 Broadway Christian Church Columbia, Missouri ♦ Program Marienlieder, Op. 22 Johannes Brahms 1 . Der englische Gross 2. Marias Kirchgang 3 . Marias W allfahrt 4. Der Jager 7. Marias Lob Ave Maria Jacques Arcadelt Quand ie vous ayme ardentement Jacques Arcadelt 11 bianco e dole cigno Jacques Arcadelt In Peace and Joy James Fritsche! Blessed Be the Name of the Lord Dale Grotenhuis University Singers Gregory Gilmore, conductor Intermission ♦ Factum est silentium Richard Dering Richte mich, Gott Felix Mendelssohn Heilig Felix Mendelssohn Schone Fremde Fanny Mendelssohn Hensel Listen to the Lambs R. Nathaniel Dett Ave Maria R. Nathaniel Dett 0 Clap Your Hands, All Ye People! Carl Staplin University Singers David Rayl, conductor ♦ Special thanks to the Thomas L. Mills University Singers Foundation for ongoing support of the MU choral program. The University Singers and the Department of Music also extend thanks to Michael Straw and the people of Broadway Christian Church of Columbia for the use of their facilities. ♦ Program Notes and Translations The Marienlieder illustrate Johannes Brahms' (1833-1897) fondness for folk songs and early music. The cycle of unaccompanied part songs uses traditional texts that are a combination of documented events and legends that praise Mary for her pure and holy spirit. Brahms composed the cycle in the style of early German church music; as a result they sound closer to strophic chorales or carols than Romantic choral music. -
William Byrd Festival 2008
This book has been published by the Church Music Association of America for distribution at the William Byrd Festival 2008. It is also available for online sales in two editions. Clicking these links will take you to a site from which you can order them. Softcover Hardcover 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 . -
Musica Britannica
T69 (2021) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, Victoria House, 23 Gruneisen Road, London N3 ILS England Telephone : +44 (0) 20 8343 3303 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website. -
REFUGE from the FLAMES Miserere and the Savonarola Legacy
oRa s e m a l f e h t UK om RefUge fR PRODUCTION t RefUge fRom the flames Miserere and the Savonarola legacy R 1 gregorio allegri (c.1582–1652) Miserere [edited by Ben Byram Wigfield] 12’06 a Solo Quartet Emma Walshe soprano 1, Elizabeth Drury soprano 2, David Clegg counter tenor, William Gaunt bass CK 2 giovanni animuccia (c.1520–c.1571) / girolamo savonarola (1452–1498) Iesù, sommo conforto 1’10 David Clegg, Edward McMullan counter tenors; Nicholas Madden, Nicholas Todd tenors; Richard Bannan, Ben Davies baritones 3 anonymous / girolamo savonarola Alma, che sì gentile 1’55 Zoe Brown soprano, Steven Harrold tenor, Ben Davies bass l 4 anonymous / girolamo savonarola Che fai qui, core? 1’17 David Clegg, Edward McMullan counter tenors; Nicholas Madden, Nicholas Todd tenors; I Richard Bannan, Ben Davies baritones ST 5 luca Bettini (c.1489–1527) Ecce quam bonum 2’33 Soloists Julie Cooper soprano, Jeremy Budd tenor 6 Philippe Verdelot (1480/85–c.1530/32) Letamini in Domino 2’06 7 William Byrd (c.1539/40–1623) Infelix ego 12’14 8 Ēriks ešenvalds (b.1977) Infelix ego * 11’31 Semi-chorus Emma Walshe soprano, Edward McMullan counter tenor, Nicholas Madden tenor, Nicholas Todd tenor, Richard Bannan baritone, William Gaunt bass 9 Jean Richafort (c.1480–c.1547) O quam dulcis 4’24 10 Claude le Jeune (c.1528/30–1600) Tristitia obsedit me, magno 5’00 11 Anonymous Ecce quomodo moritur 1’47 12 Jacobus Clemens non Papa (c.1510/15–c.1555/56) Tristitia obsedit me, amici 8’44 13 James macmillan (b.1959) Miserere 13’06 Solo Quartet Julie Cooper soprano, Eleanor -
Reappraising the Seicento
Reappraising the Seicento Reappraising the Seicento: Composition, Dissemination, Assimilation Edited by Andrew J. Cheetham, Joseph Knowles and Jonathan P. Wainwright Reappraising the Seicento: Composition, Dissemination, Assimilation, Edited by Andrew J. Cheetham, Joseph Knowles and Jonathan P. Wainwright This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Andrew J. Cheetham, Joseph Knowles, Jonathan P. Wainwright and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5529-4, ISBN (13): 978-1-4438-5529-7 TABLE OF CONTENTS List of Examples and Tables ..................................................................... vii Library Sigla and Pitch Notation ................................................................ xi Abbreviations ........................................................................................... xiii Foreword ................................................................................................... xv Introduction ................................................................................................. 1 Joseph Knowles and Andrew J. Cheetham Chapter -
Download Booklet
ALSO ON SIGNUMCLASSICS Hymns, Psalms & Dialogues of Sorrow Lamentations: Sacred Music by Robert White Gallicantus directed by Gabriel Crouch SIGCD134 Passions on the Death of Prince Henry (1612) “What an outstanding disc ... never once is there a loss of clarity, a hint of muddiness.” The Gramophone “... sublime sacred sounds from the late 16th century ... beautifully recorded.” The Observer “Taste the final amens in Exaudiat te, Dominus, where imitative exchanges spiral in ecstasy. Elizabeth Kenny Impassioned, exciting music.” lute The Times Gabriel Crouch Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 director DIALOGUES OF SORROW Passions on the death of Prince Henry, 1612 From SONGS OF MOURNING John Coprario 1 When David Heard Robert Ramsey [2.29] bq So Parted You (to the most princely and virtuous Elizabeth) [4.25] 2 What Tears, dear Prince? Robert Ramsey [3.35] br When Pale Famine (to the most disconsolate Great Britain) [2.54] PASSIONS ON THE DEATH OF PRINCE HENRY bs Then David Mourned Thomas Tomkins [2.56] 3 ‘Tis Now Dead Night Thomas Ford [4.03] bt When David Heard Thomas Tomkins [3.51] 4 Weep, weep Britons William Cranford [4.18] bu Weep Forth your Tears John Ward [4.37] 5 No Object Dearer John Ward [5.02] Total timings [70.46] From SONGS OF MOURNING John Coprario 6 O Grief (to the most sacred King James) [3.22] 7 O Poor distracted World (to the World) [2.47] GALLICANTUS 8 O Jonathan, Woe is me Thomas Weelkes [2.15] AMY MOORE & CLARE WILKINSON SOPRANO COUNTERTENOR 9 -
Copyright 2017 Janet Mccumber
Copyright 2017 Janet McCumber “I WYL POURE OUT THE WORDES OF SORROWE”: POLITICS IN THE PROTESTANT AND CATHOLIC SETTINGS OF PSALMS 51 AND 79 DURING THE ENGLISH REFORMATION BY JANET MCCUMBER DISSERTATION Submitted in partial fulfillment of the requirementS for the degree of Doctor of MuSical ArtS in Music with a concentration in Choral Conducting in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: AsSiStant ProfeSSor ChriStopher Macklin, Chair and Director of ReSearch Professor Andrew Megill John Wagstaff, Librarian, ChriSt’S College, UniverSity of Cambridge, UK Professor Sever Tipei ABSTRACT The muSic of the Tudor era in England reflected the period’S political instability. This instability had itS rootS in, among other thingS, the religiouS movement known aS the Reformation. ProteStant and Catholic factionS relied upon biblical textS, SermonS, tractS and other circulating workS to Spread their propaganda, with muSical SettingS of the PSalms alSo finding a part in thiS diSSemination. Beginning in the reign of Edward VI, the metrical pSalterS of the Anglican Church functioned aS perSonal devotional inStrumentS aimed at laity poSSeSSing limited muSical and academic training. They provided, in their Simple tuneS and metricized textS, an eaSy meanS of memorizing the PSalms. Latin motetS, on the other hand, eSpecially thoSe circulating in copied manuScript collectionS in the latter half of the sixteenth century, reflected the political situation of EngliSh CatholicS who were legally unable to worShip openly by incorporating Such textS aS PSalm 50 [51] (Miserere mei, Deus) and PSalm 78 [79] (Deus, venerunt gentes) into lamentS of perSecution. -
MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W. -
About the Choirs at All Saints’
Music All Saints’ 2018-2019 WELCOME September 2018 Dear Friends, We are delighted to welcome you to this season of Music at All Saints’! The coming year continues our tradition of offering glorious sacred choral music at both Sunday Eucharist, monthly Evensong, Compline, Lessons and Carols for Advent and Christmas, and in concert. In addition, we are thrilled share the first season of All Saints’ Chamber Choir’s concert series offering George Frederic Handel’s The Messiah in its entirety on December 2nd as well as small scale sacred cantatas by Dieterich Buxtehude, J. S. Bach, and Heinrich Schutz in early March. We also celebrate the opening of All Saints’ Music School, a community outreach of All Saints’ Parish. Our Sunday Evensong Organ recital series resumes in October and continues through May. This booklet outlines the musical offering for the coming season, particularly the 9 & 11 AM Holy Eucharist services on Sunday mornings. Also included is an envelope for your support of Friends of Music at All Saints’. Whether you are a parishioner or a friend of music, we hope you will consider making a donation to support our musical presence in North Central Phoenix, for the worship or concert setting. We hope to see you at All Saints’ for worship, music education or concert very soon! Joseph Ripka Director of Music Joseph Ripka Ilona Kubiaczyk-Adler Trevor Carolan Director of Music Associate Director of Music Assistant Organist 2 About the Choirs at All Saints’ Music is central to the worship life at All Saints’. All who enjoy music and would like to assist in enriching our worship services are encouraged to join our music program. -
Choral Evensong
Dean of Chapel The Revd Dr Michael Banner Director of Music Stephen Layton Chaplains The Revd Andrew Bowyer The Revd Kirsty Ross Organ Scholars Owain Park Alexander Hamilton CHORAL EVENSONG Sunday 11 October 2015 The Nineteenth Sunday after Trinity ORGAN MUSIC BEFORE EVENSONG Owain Park Trinity College Fantasia (Ambrose) Aria detto Balletto (Frescobaldi) Adagio in C, K 356 (Mozart) Psalm Prelude, Set 2 No. 2 (Howells) Three Characteristic Pieces (Langlais) Pastoral-Prelude Interlude Bells Welcome to this service of Choral Evensong sung by The Choir of Trinity College Cambridge Please ensure that all electronic devices, including cameras, are switched off The congregation stands when the choir and clergy enter the Chapel. The opening hymn will follow unannounced. HYMN NEH 475 DARWALL’S 148TH Ye holy angels bright, who wait at God’s right hand, or through the realms of light fly at your Lord’s command, assist our song, for else the theme too high doth seem for mortal tongue. Ye blessèd souls at rest, who ran this earthly race, and now, from sin released, behold the Saviour’s face, God’s praises sound, as in his sight with sweet delight ye do abound. Ye saints, who toil below, adore your heavenly King, and onward as ye go some joyful anthem sing; take what he gives and praise him still, through good or ill, who ever lives! My soul, bear thou thy part, triumph in God above: and with a well-tuned heart sing thou the songs of love! Let all thy days till life shall end, whate’er he send, be filled with praise.