Beyond the Spanish Golden Age – 9
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Venice in Mexico
Venice in Mexico dda25091 dda25091 Baroque Concertos by Facco andVivaldi CD duration: 60.34 Total ©2010 Diversions LLC www.divineartrecords.com www.divine-art.co.uk Brandon, VT (USA) and Doddington, UK Divine Art Record Company, Venice in Mexico : Concertos by Facco and Vivaldi in Mexico : Concertos by Facco Venice Giacomo Facco (1676-1753) Antonio Vivaldi (1678-1741) Mexican Baroque Orchestra : Miguel Lawrence Concerto in E minor, “Pensieri Adriarmonici” Concerto in C major for sopranino recorder, for violin, strings and basso continuo, Op. 1 No. 1 strings and basso continuo, RV.443 1. Allegro [3.25] 2. Adagio [2.27] 3. Allegro [2.48] 13. Allegro [3.31] 14. Largo [3.33] 9. Allegro molto [2.52] Concerto in A major, “Pensieri Adriarmonici” Concerto in D minor for strings and basso continuo, RV.127 for violin, strings and basso continuo, Op. 1 No. 5 16. Allegro [1.36] 17. Largo [0.58] 18. Allegro [1.12] ℗ 4. Allegro [2.56] 5. Grave [3.03] 6. Allegro [2.08] 2010 R. G. de Canales Concerto in C major for psaltery, strings and basso continuo, RV.425 Antonio Vivaldi (1678-1741) 19. Allegro [3.06] 20. Largo [2.52] 21. Allegro [2.32] Concerto in D major, for strings and basso continuo, RV.121 7. Allegro molto [2.14] 8. Adagio [1.22] 9. Allegro [1.46] Concerto in A minor for sopranino recorder, strings and basso continuo, RV.445 Concerto in A minor “L'estro Armonico”. 22. Allegro [4.17] 23. Largo [2.01] 24. Allegro [3.29] for violin, strings and basso continuo, Op. -
On the Question of the Baroque Instrumental Concerto Typology
Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used. -
Toccata Classics TOCC0202 Notes
P GIACOMO FACCO: A VENETIAN MUSICIAN AHEAD OF HIS TIME by Betty Luisa Zanolli Fabila Facco is the composer whom I most admire: not only was he the last paladin of the pre-Classical, he looked upon the threshold of 1770 and didn’t perceive the ‘Baroque’ that encircled it. He projected himself towards a future unknown to him and which, a century after, was to be called nineteenth-century Romanticism. His ‘adagios’ and cantatas are the proof. Uberto Zanolli1 Giacomo Facco (1676–1753) is a missing link in the history of music, a musician whose work had to wait 250 years to be rescued from oblivion. This is the story. At the beginning of the 1960s Gonzalo Obregón, curator of the Archive of the Vizcainas College in Mexico City, was organising a cupboard in the compound when suddenly he was hit by a package falling from one of the shelves. It was material he had never seen before, something not included in the catalogue of documents in the College, and completely different in nature from the other materials contained in the Archive: a set of ten little books bound in leather, which contained the parts of a musical work, the Pensieri Adriarmonici o vero Concerti a cinque, Tre Violini, Alto Viola, Violoncello e Basso per il Cembalo, Op. 1 of Giacomo Facco. Obregón’s interest was piqued in knowing who this composer was and why his works were in the Archive. He went to a friend, Luis Vargas y Vargas, a doctor of radiology by profession and an amateur of music and painting, but he had no idea who Facco might have been, either. -
The Spanish Guitar José Miguel Moreno
GCD 920114 (12 CDs) The Spanish Guitar New release information November 2019 José Miguel Moreno NOTES (ENG) NOTES (FRA) With a capaciously-filled boxset of a dozen CDs made Ce généreux coffret de 12 CDs à prix très doux up of attractive individual programmes and entitled présente la totalité des albums de musique The Spanish Guitar , Glossa reintroduces the superb espagnole que José Miguel Moreno a enregistrée playing of José Miguel Moreno. And with recordings entre 1991 y 2004 avec un style unique et splendide from 1991-2004 which still sound fresh and vivid pour Glossa, label dont il est cofondateur. today. A new essay and all the sung texts are L’interprétation, qui n’a rien perdu de sa fraîcheur included in the physical booklet that completes this première, surprend par sa spontanéité. Le livret limited-edition set. physique complétant cette édition limitée comprend un nouvel essai ainsi que tous les textes chantés. José Miguel Moreno’s multi-century guided tour of Spanish instrumental music encompasses a Le merveilleux voyage de José Miguel Moreno à magisterial pair of CDs tracing the history of the travers les siècles inclut deux CDs magistraux de Spanish guitar: compositions by Narváez, Mudarra, musique soliste qui reflètent l’histoire de la guitare Murcia, Sanz, Sor, Tárrega and Llobet are all espagnole de la Renaissance au Romantisme : les accorded their rightful places. A sizeable portion of œuvres de Narváez, Mudarra, Murcia, Sanz, Sor, the collection is dedicated to celebrating the Tárrega ou Llobet établissent ici un dialogue Renaissance and Baroque eras with either the émouvant. -
Ons-Tafelmusik.Pdf
CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Don Lee, The Banff Centre Banff The Don Lee, Today’s performance is sponsored by Gay D. Dunne and James H. Dunne COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE presents Tafelmusik Baroque Orchestra Jeanne Lamon, director The Galileo Project: Music of the Spheres Conceived, programmed, and scripted by Alison Mackay Glenn Davidson, production designer Marshall Pynkoski, stage director John Percy, astronomical consultant Shaun Smyth, narrator 7:30 p.m. Wednesday, November 5, 2014 Schwab Auditorium The performance includes one intermission. This presentation is a component of the Center for the Performing Arts Classical Music Project. With support from The Andrew W. Mellon Foundation, the proj- ect provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project. sponsors Gay D. Dunne and James H. Dunne support provided by Nina C. Brown Endowment media sponsor WPSU The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. -
Proceedings of the Musical Association Spanish Music
This article was downloaded by: [New York University] On: 05 February 2015, At: 03:19 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Proceedings of the Musical Association Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ rrma18 Spanish Music Henry Cart De Lafontaine Published online: 28 Jan 2009. To cite this article: Henry Cart De Lafontaine (1906) Spanish Music, Proceedings of the Musical Association, 33:1, 27-43, DOI: 10.1093/ jrma/33.1.27 To link to this article: http://dx.doi.org/10.1093/jrma/33.1.27 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. -
ONYX4106.Pdf
DOMENICO SCARLATTI (1685–1757) Sonatas and transcriptions 1 Scarlatti: Sonata K135 in E 4.03 2 Scarlatti/Tausig: Sonata K12 in G minor 4.14 3 Scarlatti: Sonata K247 in C sharp minor 4.39 4 Scarlatti/Friedman: Gigue K523 in G 2.20 5 Scarlatti: Sonata K466 in F minor 7.25 6 Scarlatti/Tausig: Sonata K487 in C 2.41 7 Scarlatti: Sonata K87 in B minor 4.26 8 Gieseking: Chaconne on a theme by Scarlatti (Sonata K32) 6.43 9 Scarlatti: Sonata K96 in D 3.52 10 Scarlatti/Tausig: Pastorale (Sonata K9) in E minor 3.49 11 Scarlatti: Sonata K70 in B flat 1.42 12 Scarlatti/Friedman: Pastorale K446 in D 5.09 13 Scarlatti: Sonata K380 in E 5.57 14 Scarlatti/Tausig: Sonata K519 in F minor 2.54 15 Scarlatti: Sonata K32 in D minor 2.45 Total timing: 62.40 Joseph Moog piano Domenico Scarlatti’s legacy of 555 sonatas for harpsichord represent a vast treasure trove. His works fascinate through their originality, their seemingly endless richness of invention, their daring harmonics and their visionary use of the most remote tonalities. Today Scarlatti has once again established a firm place in the pianistic repertory. But the question preoccupying me was the influence his music had on the composers of the Romantic era. If we cast an eye over the countless recordings of transcriptions and arrangements of his contemporary Johann Sebastian Bach (1685–1750), it becomes even clearer that in Scarlatti’s case, we find hardly anything comparable. A fascinating process of investigation eventually led me to Carl Tausig (1841–1871), Ignaz Friedman (1882–1948) and Walter Gieseking (1895–1956). -
Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources). -
Three BJ S-Three Chaconnes Byron Cantrell
Three BJ s-Three Chaconnes Byron Cantrell Ever since Hans von Bulow coined the expression "the three B's" in denoting J. S. Bach, Beethoven, and Brahms to the exclusion of other fine composers whose family names begin with that same initial letter, numerous comparisons have been made regarding the composition techniques of these masters. Although distinct forms are associated with the different time periods within which each lived, all three of these men are regarded as superior composers of variations. Each has treated the usual melodico-harmonic forms so idiomatically that commentary is too often limited to banal remarks on similarities or non- comparative discussion of individual works. The continuous variation form, the chaco nne, has, however, been ingeniously used by these three masters, and, because most of the aspects of the form are demonstrably retained by each of them, comparisons can effectively be made. Emerging in the late Renaissance, the chaconne gained enormous popu- larity during the Baroque era; indeed, no opera in the Italian style was considered complete during this age without one or more numbers in chaconne form. But with the Classical period came a strong preference for melodico-harmonic variations and opera buffa finales, and the ostinato variation idea seemed destined for oblivion. It was Johannes Brahms, late in the Romantic period, who handsomely revived the chaconne and thus paved the way for its popularity among later composers. In his book, The Technique of Variation, Dr. Robert U. Nelson devotes considerable space to a discussion of Baroque chaco nne practice in the instrumental field. In order to consider the three pieces selected for study here, a list of fourteen points has been extracted from Dr. -
Breathtaking-Program-Notes
PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice. -
CENTURY ORGAN MUSIC for the Degree of MASTER of MUSIC By
ol 0002 -T-E CHACONNE AND PASSACAGLIA IN TVVENTIETH CENTURY ORGAN MUSIC THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By U3arney C. Tiller, Jr., B. M., B. A. Denton, Texas January, 1966 TABLE OF CONTENTS Chapter Page I. INTRODUCTION . II. THE HISTORY OF THE CHACONNE AND PASSACAGLIA . 5 III. ANALYSES OF SEVENTEEN CHACONNES AND PASSACAGLIAS FROM THE TWENTIETH CENTURY. 34 IV. CONCLUSIONS . 116 APPENDIX . 139 BIBLIOGRAPHY. * . * . * . .160 iii LIST OF TABLES Table Page I. Grouping of Variations According to Charac- teristics of Construction in the Chaconne by Brian Brockless. .. 40 TI. Thematic Treatment in the Chaconne from the Prelude, Toccata and Chaconne by Brian Brockless. .*0 . 41 III. Thematic Treatment in the Passacaglia from the Passacaglia and Fugue by Roland Diggle. 45 IV. Thematic Treatment in the Passacaglia from the Moto Continuo and Passacglia by 'Herbert F. V. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia by Alan Gray . $4 VI. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia b Robert . .*. -...... .... $8 Groves * - 8 VII. Thematic Treatment in the Passacaglia by Ellis B. Kohs . 64 VIII. Thematic Treatment in the Passacaglia from the Introduction and Passaglia in A Minor by C. S. Lang . * . 73 IX. Thematic Treatment in the Passacaglia from the Passaca a andin D Minor by Gardner Read * . - - *. -#. *. 85 X. Thematic Treatment in the Passacaglia from the Introduction, Passacgland ugue by Healey Willan . 104 XI. Thematic Treatment in the Passacaglia from the Introduction, Passacaglia and F by Searle Wright . -
Music from the Golden Age Of
95917 Music from the Golden Age of 17th Century Music from The Netherlands Music from the Golden Age of Rembrandt Pieter Cornet (c.1575-1633) Tarquinio Merula (1595-1665) 13. Salve Regina (organ) 11’05 7. ’t Hane en ‘t Henne-gekray (2 violins & b.c) 1’55 CD1 65’21 Nicolaes Vallet Cornelis Schuyt (Leiden, 1557-1616) (Corbény, c.1583 - ? c.1645) CD2 66’40 Bernardon Barlasca From:Dodeci Padovane, et altretante Secretum Musarum II: Het tweede boeck Johan Albert Ban 8. Vijfde Fantasia 2’21 Gagliarde Composte nelli dodeci van de luyt-tablatuer ghenoemt ‘Het (Haarlem, 1597/98-1644) modi,Con due Canzone fatte alla gheheymenisse der sangh-goddinnen…’ 1. Me veux tu voir mourir 1640 (in Christian Herwich? Francese, per sonare à sei. Leiden 1611 Amsterdam 1616 contest with Boësset) 9. Concerto 1. Pavaen en gagliarda 10 8. Fortune angloise (lute) - Malle (tenor & b.c.) 1’16 (violin, viola da gamba & b.c.) 2’39 (six part consort) 3’44 Sijmen - Slaep, zoete Slaep 4’03 2. Pavaen en gagliarda 10 Jacob van Eijck (c.1590 – Utrecht, 1659) Constantijn Huygens (six part consort) 1’11 Cornelis Thymanszoon Padbrué From: Der Fluytenlusthof, beplant (Den Haag, 1596-1687) 3. Canzona ‘la Barca’ 2’04 (Haarlem, 1592-1670) met Psalmen, Allemanden, Couranten, From: Pathodia Sacra et Profana, From: Kusjes…den tweeden Druck Balletten, Airs, &c deel I, Paris, 1647 Jan Pieterszn Sweelinck vermeerdert ende verbetert met 5,4 ende Amsterdam, 1649 10. Usquequo,Domine (III) (Deventer, 1562 - Amsterdam, 1621) 3 stemmen, met een basso continuo… 2. Doen Daphne d’Over schoone (soprano & b.c.) 2’53 Livre troisième des Psaumes de David… Op.1, Amsterdam, 1641 Maegt (recorder) 7’14 11.