View PDF Editionarrow Forward
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Old St. Peter's Protestant Episcopal Church, Philadelphia: an Architectural History and Inventory (1758-1991)
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1992 Old St. Peter's Protestant Episcopal Church, Philadelphia: An Architectural History and Inventory (1758-1991) Frederick Lee Richards University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Richards, Frederick Lee, "Old St. Peter's Protestant Episcopal Church, Philadelphia: An Architectural History and Inventory (1758-1991)" (1992). Theses (Historic Preservation). 349. https://repository.upenn.edu/hp_theses/349 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Richards, Frederick Lee (1992). Old St. Peter's Protestant Episcopal Church, Philadelphia: An Architectural History and Inventory (1758-1991). (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/349 For more information, please contact [email protected]. Old St. Peter's Protestant Episcopal Church, Philadelphia: An Architectural History and Inventory (1758-1991) Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Richards, Frederick Lee (1992). Old St. Peter's Protestant Episcopal Church, Philadelphia: -
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 ... -
The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
Halle, the City of Music a Journey Through the History of Music
HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture. -
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. -
American Historical Association
ANNUAL REPORT OF THE " AMERICAN HISTORICAL ASSOCIATION FOR THE YEAR 1909 . \) I "' 9' ., WASHINGTON 1911 .' LETTER OF SUBMITTAL. SMITHSONIAN INSTITUTION, Washington, D. 0., January 10, 1911. To the Oongress of the United States: In accordance with the act of incorporation of the American His torical Association, approved January 4, 1889, I have the honor to submit to Congress the annual report of the association for the year 1909. I have the honor to be, Very respectfully, your obedient servant, CHARLES D. WALCOTT, ,. Secretary . " 3 , , . - AOT OF INOORPORATION. Be it enacted by the Senate and House of Repre8entative8 of the United State8 of Ame'liea in Oongre88 a88ernlJled, That Andrew D. White, of Ithaca, in the State of N ew York; George Bancroft, of Washington, in the District of Columbia; Justin Winsor, of Cam bridge, in the State of Massachusetts; William F. Poole, of Chicago, in the State of Illinois; Herbert B. Adams, of Baltimore, in the State of Maryland; Clarence W. Bowen, of Brooklyn, in the State of New York, their associates and successors, are hereby creatBd, in the Dis trict of C~lumbia, a body corporate and politic by the name of the American Historical Association for the promotion of historical studies, the collection and preservation of historical manuscripts, and for kindred purposes in the intBrest of American history and of history in America. Said association is authorized to hold real and personal estate in the District of Columbia so far only as may be necessary to its lawful ends to an amount not exceeding five hundred thousand dollars, to adopt a constitution, and make by-laws not inconsistent with law. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016
DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert. -
Timothy Burris—Baroque Lute
Early Music in the Chapel at St Luke's Les Goûts Réunis Timothy Neill Johnson—tenor & Timothy Burris—Lute with Michael Albert—violin & Eliott Cherry—'cello So wünsch ich mir zu guter letzt ein selig Stündlein J.S. Bach (1685 - 1750) Jesu, meines Herzens Freud Bist du bei mir Der Tag ist hin Et è per dunque vero Claudio Monteverdi (1567 - 1643) Sonata seconda Dario Castello (c. 1590 – c. 1658) Prelude Amila François Dufaut (1600 – 1671) Tombeau de Mr Blanrocher Music for a while Henry Purcell (1659 – 1695) Evening Hymn Sweeter than roses Domine, Dominus noster André Campra (1660 – 1744) The Composers J.S. Bach The three chorales with figured bass included here are from the Gesangbuch published by Georg Christian Schemelli in 1736. The 69 pieces attributed to Bach in the mammoth Gesangbuch (which contains no fewer than 950 pieces!) are marked by quiet and pious sentiments, unobtrusive and effortless harmonies. The aria “Bist du bei mir” (BWV 508) was part of Gottfried Heinrich Stölzel's opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost. The aria had been part of the Berlin Singakademie music library and was considered lost in the Second World War, until it was rediscovered in 2000 in the Kiev Conservatory. The continuo part of BWV 508 is more agitated and continuous in its voice leading than the Stölzel aria; it is uncertain who provided it, as the entry in the Notebook is by Anna Magdalena Bach herself. Claudio Monteverdi Claudio Monteverdi, the oldest of five children, was born in Cremona, where he was part of the cathedral choir and later studied at the university. -
Central Reference CD List
Central Reference CD List January 2017 AUTHOR TITLE McDermott, Lydia Afrikaans Mandela, Nelson, 1918-2013 Nelson Mandela’s favorite African folktales Warnasch, Christopher Easy English [basic English for speakers of all languages] Easy English vocabulary Raifsnider, Barbara Fluent English Williams, Steve Basic German Goulding, Sylvia 15-minute German learn German in just 15 minutes a day Martin, Sigrid-B German [beginner’s CD language course] Berlitz Dutch in 60 minutes Dutch [beginner’s CD language course] Berlitz Swedish in 60 minutes Berlitz Danish in 60 minutes Berlitz Norwegian in 60 minutes Berlitz Norwegian phrase book & CD McNab, Rosi Basic French Lemoine, Caroline 15-minute French learn French in just 15 minutes a day Campbell, Harry Speak French Di Stefano, Anna Basic Italian Logi, Francesca 15-minute Italian learn Italian in just 15 minutes a day Cisneros, Isabel Latin-American Spanish [beginner’s CD language course] Berlitz Latin American Spanish in 60 minutes Martin, Rosa Maria Basic Spanish Cisneros, Isabel Spanish [beginner’s CD language course] Spanish for travelers Spanish for travelers Campbell, Harry Speak Spanish Allen, Maria Fernanda S. Portuguese [beginner’s CD language course] Berlitz Portuguese in 60 minutes Sharpley, G.D.A. Beginner’s Latin Economides, Athena Collins easy learning Greek Garoufalia, Hara Greek conversation Berlitz Greek in 60 minutes Berlitz Hindi in 60 minutes Berlitz Hindi travel pack Bhatt, Sunil Kumar Hindi : a complete course for beginners Pendar, Nick Farsi : a complete course for beginners -
2007-08 Repertoire
Cathedral Gallery Singers and Diocesan Chorale 2007-2008 Choral Repertoire Cathedral of Saint Joseph the Workman La Crosse, Wisconsin Brian Luckner, DMA Director of Music and Organist September 16 Twenty–fourth Sunday in Ordinary Time November 11 Thirty–second Sunday in Ordinary Time Have Mercy on Me Thomas Tomkins Alleluia. May Flights of Angels Sing John Tavener 1573–1656 Thee to Thy rest b. 1944 Cantate Domino Hans Leo Hassler Justorum animae William Byrd 1564–1612 1543–1623 September 23 Twenty–fifth Sunday in Ordinary Time November 18 Thirty–third Sunday in Ordinary Time Give Almes of Thy Goods Christopher Tye Psalm 121 (Requiem, Movt. IV) Herbert Howells c. 1505–c. 1572 1892–1983 Sicut cervus Giovanni Pierluigi da Palestrina I Heard a Voice from Heaven (Requiem, Movt. VI) Herbert Howells c. 1525–1594 1892–1983 September 30 Twenty–sixth Sunday in Ordinary Time November 25 Christ the King Lead Me, Lord Samuel Sebastian Wesley Dignus est Agnus, qui occisus est (Introit) Gregorian Chant 1810–1876 Ave verum corpus Gerald Near I Was Glad Frank Ferko b. 1942 b. 1950 King of Glory, King of Peace Eric H. Thiman October 7 Twenty–seventh Sunday in Ordinary Time 1900–1975 Lass dich nur nichts nicht dauren Johannes Brahms December 2 First Sunday of Advent 1833–1897 Come, Let’s Rejoice John Amner Ad te levavi animam meam (Introit) Gregorian Chant 1579–1641 O Pray for the Peace of Jerusalem Thomas Tomkins October 14 Twenty–eighth Sunday in Ordinary Time 1572–1656 Veni Redemptor gentium Jacob Handl Ave Maria (Op. 23, No.