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The Organ Ricercars of Hans Leo Hassler and Christian Erbach
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Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
Music and Silence
CONSERVATORIO DI MUSICA ARRIGO BOITO PARMA LABRETMUS LABORATORY ON MUSICAL RHETORIC MUSIC AND SILENCE "Silence is not acoustic. It is a state of the mind, a turning around." John Cage FROM MERULO TO FRESCOBALDI Opening Concert after restoration of Claudio Merulo’s Organ Auditorium del Carmine Wednesday, March 25, 2015, h 18.00 Pierre-Alain Clerc, organ We publicly thank the Chiesi Farmaceutici S.p.A. for the contribution that has allowed the restoration of Claudio Merulo’s Organ. Claudin de Sermisy (1495-1562), Tant que vivray en age florissant Claudio Merulo (1533-1604), Toccata sesta del settimo tuono (dal Libro secondo, 1604) Claudio Merulo, Kyrie – Christe – Kyrie dalla Missa Virginis Mariae (1568) Andrea Gabrieli (1532-1585), Fantasia allegra (1595) Giovanni Maria Trabaci (1575-1647), Consonanze stravaganti Giovanni Gabrieli (1557-1612), Canzona detta La Spiritata (1593) Andrea Gabrieli (1532-1585), Suzanne ung jour (da Orlando di Lasso) Tarquinio Merula (1595-1665), Capriccio cromatico Andrea Gabrieli, Anchor che col partire (da Cipriano de Rore) Heinrich Scheidemann (1595-1663), Praeambulum in re Antonio Carreira (1520?-1590?), Cançao a 4 Christian Erbach (1570-1635), Canzone a 4 del quarto tono Girolamo Frescobaldi (1583-1643), Toccata sopra i Pedali (da Il secondo Libro, 1627) Anonimo spagnolo (Flores de Musica, 1709, ed. A. Martin y Coll ed.), Obra de falsas cromaticas de primero tono Girolamo Frescobaldi, Bergamasca (dai Fiori musicali, 1635) Claudio Merulo was composer and organist, a star of the sixteenth century music. Born in Correggio in the family Merlotti in 1533, he changed later his surname in Merulo. For almost thirty years was organist at the Basilica of San Marco with Annibale Padovano: the two organs at the ends of the transept were used in the performance of music “a doppio coro”. -
Bach2000.Pdf
Teldec | Bach 2000 | home http://www.warnerclassics.com/teldec/bach2000/home.html 1 of 1 2000.01.02. 10:59 Teldec | Bach 2000 | An Introduction http://www.warnerclassics.com/teldec/bach2000/introd.html A Note on the Edition TELDEC will be the first record company to release the complete works of Johann Sebastian Bach in a uniformly packaged edition 153 CDs. BACH 2000 will be launched at the Salzburg Festival on 28 July 1999 and be available from the very beginning of celebrations to mark the 250th anniversary of the composer's death in 1750. The title BACH 2000 is a protected trademark. The artists taking part in BACH 2000 include: Nikolaus Harnoncourt, Gustav Leonhardt, Concentus musicus Wien, Ton Koopman, Il Giardino Armonico, Andreas Staier, Michele Barchi, Luca Pianca, Werner Ehrhardt, Bob van Asperen, Arnold Schoenberg Chor, Rundfunkchor Berlin, Tragicomedia, Thomas Zehetmair, Glen Wilson, Christoph Prégardien, Klaus Mertens, Barbara Bonney, Thomas Hampson, Herbert Tachezi, Frans Brüggen and many others ... BACH 2000 - A Summary Teldec's BACH 2000 Edition, 153 CDs in 12 volumes comprising Bach's complete works performed by world renowned Bach interpreters on period instruments, constitutes one of the most ambitious projects in recording history. BACH 2000 represents the culmination of a process that began four decades ago in 1958 with the creation of the DAS ALTE WERK label. After initially triggering an impassioned controversy, Nikolaus Harnoncourt's belief that "Early music is a foreign language which must be learned by musicians and listeners alike" has found widespread acceptance. He and his colleagues searched for original instruments to throw new light on composers and their works and significantly influenced the history of music interpretation in the second half of this century. -
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. -
Going for a Song
FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
Problematic Differences Between the Ricercar and Fantasia
I. Introduction The fantasia was an instrumental genre first cultivated in Italy and Spain in the early 1530’s and was quite popular among composers because it imposed no set rules or form, thus allowing experimentation with numerous styles and compositional techniques. Composers used the fantasia as a way to write with complete freedom, not restrained by any preexisting structure; this often resulted in improvisatory treatment of musical material. First developed by Italian lutenists such as Francesco Canova da Milano and Spanish vihuelists such as Luis Milán, the fantasia eventually became known all over Europe. Throughout the history of this genre, the fantasia is often connected to an earlier form called the ricercare. Composers and writers of the sixteenth century either made loose distinctions between these genres, or could not agree on how to explain them, which resulted in some confusion about the terms. II. Purpose In this paper, I will supply a historical background and draw a distinction between the genres of the ricercare and fantasia, with references to influential composers such as Francesco Canova da Milano and Luis Milán. In addition, I will select a fantasia from Luis Milán’s El Maestro (1536) to be transcribed for modern guitar. I will supply a brief historical overview of Milán’s works, as well as an outline of the transcription process, a style analysis of the selected work, and solutions to some performance issues. My adaptation will attempt to make a clearer realization of Milán’s contrapuntal writing in ways that are idiomatic to the guitar. 1 III. Problematic differences between ricercare and fantasia There is much information on the connection between the genres of ricercare and fantasia. -
Bärenreiter Organ Music
>|NAJNAEPAN KNC=JIQOE? .,-.+.,-/ 1 CONTENTS Organ Music Solo Voice and Organ ...............30 Index by Collections and Series ...........4–13 Books............................................... 31 Edition Numbers ....................... 34 Composers ....................................14 Contemporary Music Index by Jazz .............................................. 29 A Selection ..............................32 Composers / Collections .........35 Transcriptions for Organ .........29 Photo: Edition Paavo Blåfi eld ABBREVIATIONS AND KEY TO FIGURES Ed. Editor Contents Ger German text Review Eng English text Content valid as of May 2012. Bärenreiter-Verlag Fr French text Errors excepted and delivery terms Karl Vötterle GmbH & Co. KG Lat Latin text subject to change without notice. International Department BA Bärenreiter Edition P.O. Box 10 03 29 H Bärenreiter Praha Cover design with a photograph D-34003 Kassel · Germany SM Süddeutscher Musikverlag by Edition Paavo Blåfi eld. Series E-Mail: paavo@blofi eld.de www.baerenreiter.com a.o. and others www.blofi eld.de E-Mail: [email protected] Printed in Germany 3/1206/10 · SPA 238 2 Discover Bärenreiter … www.baerenreiter.com Improved Functionality Simple navigation enables quick orientation Clear presentation Improved Search Facility Comprehensive product information User-friendly searches by means of keywords Product recommendations Focus A new area where current themes are presented in detail … the new website3 ORGAN Collections and Series Enjoy the Organ Ave Maria, gratia plena Ave-Maria settings The new series of easily playable pieces for solo voice and organ (Lat) BA 8250 page 30 Enjoy the Organ I contains a collection of stylistically varied Bärenreiter Organ Albums pieces for amateur organists Collections of organ pieces which are equally suitable for page 6-7 use in church services and in concerts. -
The Sackbut and Pre-Reformation English Church Music
146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another. -
Amherst Early Music Festival Directed by Frances Blaker
Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away.