Machaut Discography
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
To Download Press
BIO - GRAPHY Tapestry Tapestry made its debut in Jordan Hall with a performance of Steve Reich’s Cristi Catt, soprano, has performed with Tehillim, deemed “a knockout” by The Boston Globe. The trademark of the leading early music groups including En- Boston-based vocal ensemble is combining medieval repertory and contem- semble PAN, Revels, Boston Camerata porary compositions in bold, conceptual programming. Critics hail their rich and La Donna Musicale. Her interest in the distinctive voices, their “technically spot-on singing” and their emotionally meeting points between medieval and folk charged performances. The LA Times writes “They sing beautifully separately traditions has led to research grants to Por- and together with a glistening tone and precise intonation” and The Cleve- tugal and France, and performances with land Plain Dealer describes Tapestry as “an ensemble that plants haunting HourGlass, Le Bon Vent, Blue Thread, and vibrations, old and new, in our ears.” Most recently, Tapestry has expanded their repertoire to include works of impression- ists including Debussy, Lili Boulanger and Vaughan Williams for a US tour in celebra- tion of the 100-year anniversary of World War One Armistice, culminating with a per- formance at the National Gallery in Wash- ington DC. Their newest program, Beyond Borders, builds on their impressionistic discoveries and expands to works of Duke Ellington, Samuel Barber, and Leonard Ber- nstein programmed with early music and folk songs. Concert appearances include the Utrecht Early Music and -
The Trecento Lute
UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain. -
4970379-70Ef42-714439855734.Pdf
GUILLAUME DE MACHAUT la messe nostre-dame - l ‘ amour courtois ARS ANTIQUA DE PARIS directed by michel sanvoisin Joseph Sage, countertenor Hugues Primard, tenor Pierre Eyssartier, tenor Marc Guillard, baritone Michel Sanvoisin, recorders Philippe Matharel, cornet Raymond Cousté, lute Colette Lequien, vièle Marie Jeanne Serero, organ La Messe Nostre-Dame 1. Kyrie I, Christe, Kyrie II, Kyrie III 06:52 2. Gloria 05:12 3. Credo 06:44 4. Sanctus 04:35 5. Agnus Dei 03:29 6. Gratias 01:44 L'Amour Courtois 7. De Toutes Flours (organ, vièle) 03:31 8. Quant Theseus (two tenors, vièle, organ, lute) 04:44 9. Plus Dure Que Un Dyamant (lute) 01:59 10. Ma Fin Est Mon Commencement (countertenor, recorder, lute) 06:14 11. Hoquet David (vièle, organ, lute) 02:16 12. Douce Dame Jolie (countertenor) 03:54 13. Ce Qui Soutient Moy (recorder, lute) 01:29 14. Rose, Liz (tenor, baritone, organ, vièle, cornet, lute) 04:16 15. Dame, Ne Regardes Pas (recorder, vièle) 01:51 16. Ma Chiere Dame (countertenor, recorder, vièle, lute) 01:46 17. Dame, Se Vous M'estes Lonteinne (baritone, organ, vièle, cornet) 02:55 18. Trop Plus Est Belle (vocal and intstrumental ensemble) 02:59 TOTAL PLAYING TIME 68:14 Recorded at Scuola Grande di San Giovanni Evangelista, Venice 1990 Recording Engineers: Silvia and Giovanni Melloncelli p©20161Edelweiss Emission The Originals is a unique series that has once again been made available for audiophiles, so they can enjoy the stellar euphonic sound of EDELWEISS EMISSION. 2016 begins with the reissue of a previously sold out series of outstanding releases performed by a number of celebrated musicians. -
PMMS Josquin Des Prez Discography June 2021
Josquin des Prez Discography Compiled by Jerome F. Weber This discography of Josquin des Prez (Josquin Lebloitte dit des Prez), who has been indexed as Josquin Desprez, Des Près, and Pres, adopts the format of the Du Fay discography previously posted on this website. It may be noted that at least three book titles since 2000 have named him simply “Josquin,” bypassing the spelling problem. Acknowledgment is due to Pierre-F. Roberge and Todd McComb for an exhaustive list of records containing Josquin’s music in www.medieval.org/emfaq. It incorporates listings from the work of Sydney Robinson Charles in Josquin des Prez: A Guide to Research (Garland Composer Resource Manuals, 1983) and Peter Urquhart in The Josquin Companion (ed. Richard Sherr, Oxford, 2000), which continued where Charles left off. The last two lists each included a title index. This work has also used the following publications already incorporated in the three cited discographies. The 78rpm and early LP eras were covered in discographic format by The Gramophone Shop Encyclopedia of Recorded Music (three editions, 1936, 1942, 1948) and The World’s Encyclopaedia of Recorded Music (three volumes, 1952, 1953, 1957). James Coover and Richard Colvig compiled Medieval and Renaissance Music on Long-Playing Records in two volumes (1964 and 1973), and Trevor Croucher compiled Early Music Discography from Plainsong to the Sons of Bach (Oryx Press, 1981). The Index to Record Reviews compiled by Kurtz Myers (G. K. Hall, 1978) provided useful information. Michael Gray’s classical-discography.org has furnished many details. David Fallows offered many valuable suggestions. -
Celebrate a Medieval Christmas with the Boston Camerata
Anne Azéma, Artistic Director Joel Cohen, Music Director Emeritus December 1, 2011 FOR IMMEDIATE RELEASE Please contact Tim Alexander at [email protected] or 617-272-2092 for further information. "A Medieval Christmas," absent for many years from the Boston area, now returns for four performances this Christmas season in New England. Directed by Anne Azema, the performances are December 10 (8 pm) at Boston's Old West Church; December 11 (3:30 pm) at First Parish Church in Newbury; December 17 (8 pm) in Lexington's Hancock United Methodist Church; and December 20 (8 pm) at First Church of Cambridge. Union College in Schenectady has engaged the Camerata for an additional performance there on December 18. "Away with scholastic debate and with the coldness of rectitude: Let the light and awe from some of the most magnificent medieval pieces pour in, the energy of a young group of performers combined with the sheer fun of the seasonal feast," in the words of artistic director Anne Azema. "Enjoy these performances, which are drawn from a vast medieval trove that includes some of the most beautiful music ever produced in Europe." Audiences will hear magnificent medieval song and poetry from France, Provence, England, and Germany, performed by a virtuoso consort of voices and instruments. The Boston area is truly blessed to be the home of a world-famous early-music ensemble. The Boston Camerata began touring overseas in 1974, and in the summer of 2011 it reached new heights, with combined audiences for tours in France, Germany, Belgium, Holland, and Finland exceeding 15,000. -
Program Notes Machaut
ABOUT THE MACHAUT MASS by Anne Azéma Program and Production Notes for the upcoming March 29 and March 30 performances Amherst and Cambridge, Ma. The present production of the epoch-making “Messe de Notre Dame” by Guillaume de Machaut (c.1300–77) was the result of a 2011 commission to The Boston Camerata by the Reims Music Festival. The mission confided to us then was to reconsider and reconceive Machaut’s masterpiece, the earliest known polyphonic setting of the mass Ordinary from the hand of a single composer, in honor of the 800th anniversary of the glorious Reims Cathedral. That is the place where Canon Machaut’s music was almost certainly first performed. These 2013 performances in Amherst and Cambridge mark the North American première of that Reims production, a significant milestone both in the history of the Cathedral and of our ensemble. As it is with history’s appreciation of the Reims cathedral itself—a building successively neglected, adored, altered, partially destroyed, rebuilt and restored—our views of medieval musical art in general and of Machaut’s achievement in particular have changed and evolved greatly over the generations. During the Enlightenment and into the earlier nineteenth century, medieval music (or what little was known of it) was generally considered to be crude and primitive. Ever since the earliest transcriptions of medieval polyphony by later nineteenth-century musical paleographers began to circulate, a reappraisal began, and in Machaut’s case appreciation for his musical art has never ceased to grow and progress. His place as one of the greatest composers in music history is now virtually unchallenged, and even his prolific literary output, for so long relegated to the second rank, is now undergoing positive reevaluation. -
TITLE Pages 160518
Cover Page The handle http://hdl.handle.net/1887/64500 holds various files of this Leiden University dissertation. Author: Young, R.C. Title: La Cetra Cornuta : the horned lyre of the Christian World Issue Date: 2018-06-13 La Cetra Cornuta : the Horned Lyre of the Christian World Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof.mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties te verdedigen op 13 juni 2018 klokke 15.00 uur door Robert Crawford Young Born in New York (USA) in 1952 Promotores Prof. dr. h.c. Ton Koopman Universiteit Leiden Prof. Frans de Ruiter Universiteit Leiden Prof. dr. Dinko Fabris Universita Basilicata, Potenza; Conservatorio di Musica ‘San Pietro a Majella’ di Napoli Promotiecommissie Prof.dr. Henk Borgdorff Universiteit Leiden Dr. Camilla Cavicchi Centre d’études supérieures de la Renaissance Centre National de la Recherche Scientifique Université de Tours Prof.dr. Victor Coelho School of Music, Boston University Dr. Paul van Heck Universiteit Leiden Prof.dr. Martin Kirnbauer Universität Basel en Schola Cantorum Basiliensis Dr. Jed Wentz Universiteit Leiden Disclaimer: The author has made every effort to trace the copyright and owners of the illustrations reproduced in this dissertation. Please contact the author if anyone has rights which have not been acknowledged. TABLE OF CONTENTS Acknowledgements vii Foreword ix Glossary xi Introduction xix (DE INVENTIONE / Heritage, Idea and Form) 1 1. Inventing a Christian Cithara 2 1.1 Defining -
Jennifer Bain1 Dalhousie University 1. Three Years Ago After I Delivered
Echo: A Music-Centered Journal Volume 6 Issue 1 (Spring 2004) Full article with images, video and audio content available at http://www.echo.ucla.edu/volume6-issue1/bain/bain1.html Jennifer Bain1 Dalhousie University 1. Three years ago after I delivered a lecture to my medieval music history class on the role of women in medieval music, one student asked the question that has been occupying me for some time: “Why is it that before I took this course I had heard of Hildegard von Bingen, but I’d never heard of any of the other medieval composers we’ve talked about so far, like Leonin or Perotin?” The answer, of course, is not straightforward. Twenty- five years ago this question would not have been asked in a medieval music history class, because very few people at all in the English-speaking world, even those who specialized in medieval music, knew the name of the twelfth-century Abbess and composer, Hildegard von Bingen (1098-1179). Before 1989, Hildegard’s music, like that of most women composers, was completely absent from standard music history textbooks.2 While she merited only a single paragraph in a 1989 textbook devoted entirely to medieval music, today she is a featured composer in the latest edition of the widely-used music history textbook, Grout and Palisca’s A History of Western Music (49, 50). This speedy rise to prominence in the study of music history, however, pales in comparison to Hildegard’s spectacular and influential splash in the marketplace. 2. Before 1982 only a few of Hildegard’s seventy-seven songs had been recorded and their amateur performances had virtually no impact in the marketplace. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
CIM/CWRU Joint Music Program Wednesday, Octoberdecember 5, 7,2016 2016
CIM/CWRU Joint Music Program Wednesday, OctoberDecember 5, 7,2016 2016 La Fonteinne amoureuse CarlosCWRU Salzedo Medieval (1885–1961) Ensemble Tango Ross W. Duffin, director Grace Cross & Grace Roepke, harp with CWRU Early Music Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross ProgramCarlos Salzedo Chanson dans la nuit Grace Cross & Grace Roepke Kyrie from La Messe de Nostre Dame Guillaume de Machaut (ca.1300–77) Caroline Lizotte (b. 1969) from Suite Galactique, op. 39 Early Music Singers Exosphère Gracedirected Roepke by Elena Mullins Pierre Beauchant (1885–1961) Triptic Dance Douce dame Machaut Grace Cross & Grace Roepke Nathan Dougherty, voice withSylvius Medieval Leopold WeissEnsemble (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande Lucas Saboya (b. 1980) from Suite Ernestina I. Costurera Quarte estampie royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) vielle • Karin Cuellar,Since rebec I Fell for You Laura(arr. for Osterlund, guitar by A. recorderPoxon) • Margaret Carpenter Haigh, harp Andy Poxon, guitar Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Comment qu’a moy lonteinne Machaut J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 Margaret Carpenter Haigh, voice IV. Allegro assai Heitorwith ensemble Villa-Lobos (1887–1959) Etude no. 7 Year Yoon, guitar Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine(continued Arts, Boston Gift of Mrs. onJ. D. Cameron reverse) Bradley 55.1116. -
Chapter 3: the Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes I
Chapter 3: The Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes in notation in the thirteenth century allowed for musical experimentation in the early fourteenth century. 2. The evidence that tells us that fourteenth-century composers understood that they were doing something different can be found in two treatises: The Ars novae musicae by Jehan de Murs and the Ars nova by Philippe de Vitry. B. Music from Mathematics 1. During the fourteenth century, mathematics expanded beyond the boundaries previously seen in European thought. Music, the discipline so closely coupled with mathematics, followed suit. a. A fourfold system existed for musical time. Each of those listed is a subdivision of the previous: Maximodus, Modus, Tempus, and Prolatio. b. Each of these could be divided into two or three parts. 1) The first two are essentially theoretical concepts, and practical use resided in the latter two. 2) These possibilities yield, in modern terms: 9/8, 3/4; 6/8, 2/4. 2. Not everyone liked the innovations of the Ars nova. a. One example of disapproval is Jacobus de Liege’s Speculum musicae. 1) He dismissed the complexity and innovation as superfluous. C. Music about Music 1. Another new idea in the Ars nova concerns a growing realization of self- awareness as composers of art. 2. Music composition is seen as an art, not a craft. D. Establishing the Prototype: The Roman de Fauvel 1. The earliest surviving pieces in the Ars nova style are found in the Roman de Fauvel. a. Compiled around 1317, poem by Gervais du Bus, this manuscript includes 126 musical compositions (different genres). -
Codex Chantilly Discography
Codex Chantilly Discography Compiled by Jerome F. Weber In its original form, this discography of the Codex Chantilly, MS 564 was dedicated to Clifford Bartlett for the 166 issues of Early Music Review and published in the final print issue (No. 166, June 2015). A number of additions and corrections have been made. This version has been formatted to match the Du Fay and Josquin des Prez discographies on this website. The works are listed alphabetically and identified by the index numbers in the facsimile edition published by Brepols in 2008. The recordings are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available. Following is the issued format (78, 45, LP, MC, CD, SACD), the label, the issue number(s) and album titles. Eighty-seven out of 112 titles have been recorded. A composer index has been added at the end. Acknowledgment is due to Todd McComb’s website, www.medieval.org/emfaq, and Michael Gray’s website, classical-discography.org for details of some entries. Additions and corrections may be conveyed to the compiler for inclusion in a revised version of the work. Go to Chantdiscography.com and click on ‘contact us’. A scan of a CD booklet that provides needed data would be invaluable. December 2016 In the same series: Aquitanian and Calixtine Polyphony Discography Codex Las Huelgas Discography Codex Montpellier Discography Eton Choirbook Discography 1 Adieu vos di, tres doulce compaynie, 74 (Solage?) Marcel Pérès, Ens. Organum (rec. 1986.09.) [3:38] instrumental LP: Harmonia Mundi HM 1252 CD: HMC 901252; HMT 7901252; HMA 1951252 “Airs de Cour” Crawford Young, Ferrara Ens.