Missa L'homme Armé Discography
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Guillaume Du Fay Discography
Guillaume Du Fay Discography Compiled by Jerome F. Weber This discography of Guillaume Du Fay (Dufay) builds on the work published in Fanfare in January and March 1980. There are more than three times as many entries in the updated version. It has been published in recognition of the publication of Guillaume Du Fay, his Life and Works by Alejandro Enrique Planchart (Cambridge, 2018) and the forthcoming two-volume Du Fay’s Legacy in Chant across Five Centuries: Recollecting the Virgin Mary in Music in Northwest Europe by Barbara Haggh-Huglo, as well as the new Opera Omnia edited by Planchart (Santa Barbara, Marisol Press, 2008–14). Works are identified following Planchart’s Opera Omnia for the most part. Listings are alphabetical by title in parts III and IV; complete Masses are chronological and Mass movements are schematic. They are grouped as follows: I. Masses II. Mass Movements and Propers III. Other Sacred Works IV. Songs (Italian, French) Secular works are identified as rondeau (r), ballade (b) and virelai (v). Dubious or unauthentic works are italicised. The recordings of each work are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available; then the format of the recording (78, 45, LP, LP quad, MC, CD, SACD), the label, and the issue number(s). Each recorded performance is indicated, if known, as: with instruments, no instruments (n/i), or instrumental only. Album titles of mixed collections are added. ‘Se la face ay pale’ is divided into three groups, and the two transcriptions of the song in the Buxheimer Orgelbuch are arbitrarily designated ‘a’ and ‘b’. -
Extract from Text
DISCOVER CHORAL MUSIC Contents page Track List 4 A Brief History of Choral Music , by David Hansell 13 I. Origins 14 II. Early Polyphony 20 III. The Baroque Period 39 IV. The Classical Period 68 V. The Nineteenth Century 76 VI. The Twentieth Century and Beyond 99 Five Centuries of Choral Music: A Timeline (choral music, history, art and architecture, literature) 124 Glossary 170 Credits 176 3 DISCOVER CHORAL MUSIC Track List CD 1 Anon (Gregorian Chant) 1 Crux fidelis 0.50 Nova Schola Gregoriana / Alberto Turco 8.550952 Josquin des Prez (c. 1440/55–c. 1521) 2 Ave Maria gratia plena 5.31 Oxford Camerata / Jeremy Summerly 8.553428 John Taverner (c. 1490–1545) Missa ‘Gloria Tibi Trinitas’ 3 Sanctus (extract) 5.28 The Sixteen / Harry Christophers CDH55052 John Taverner 4 Christe Jesu, pastor bone 3.35 Cambridge Singers / John Rutter COLCD113 4 DISCOVER CHORAL MUSIC Thomas Tallis (c. 1505–1585) 5 In manus tuas, Domine 2.36 Oxford Camerata / Jeremy Summerly 8.550576 William Byrd (c. 1540–1623) 6 Laudibus in sanctis 5.47 Oxford Camerata / Jeremy Summerly 8.550843 Giovanni Pierluigi da Palestrina (c. 1525/6–1594) Missa ‘Aeterna Christi Munera’ 7 Agnus Dei 4.58 Oxford Camerata / Jeremy Summerly 8.550573 Tomás Luis de Victoria (1548–1611) 8 O magnum mysterium 4.17 Oxford Camerata / Jeremy Summerly 8.550575 Claudio Monteverdi (1567–1643) Vespers of the Blessed Virgin 9 Laudate pueri Dominum 6.05 The Scholars Baroque Ensemble 8.550662–63 Giacomo Carissimi (1605–1674) Jonas 10 Recitative: ‘Et crediderunt Ninevitae…’ 0.25 11 Chorus of Ninevites: ‘Peccavimus, -
Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
NEWSLETTER Editor: Francis Knights
NEWSLETTER Editor: Francis Knights Volume v/1 (Spring 2021) Welcome to the NEMA Newsletter, the online pdf publication for members of the National Early Music Association UK, which appears twice yearly. It is designed to share and circulate information and resources with and between Britain’s regional early music Fora, amateur musicians, professional performers, scholars, instrument makers, early music societies, publishers and retailers. As well as the listings section (including news, obituaries and organizations) there are a number of articles, including work from leading writers, scholars and performers, and reports of events such as festivals and conferences. INDEX Interview with Bruno Turner, Ivan Moody p.3 A painted villanella: In Memoriam H. Colin Slim, Glen Wilson p.9 To tie or not to tie? Editing early keyboard music, Francis Knights p.15 Byrd Bibliography 2019-2020, Richard Turbet p.20 The Historic Record of Vocal Sound (1650-1829), Richard Bethell p.30 Collecting historic guitars, David Jacques p.83 Composer Anniversaries in 2021, John Collins p.87 v2 News & Events News p.94 Obituaries p.94 Societies & Organizations p.95 Musical instrument auctions p.96 Conferences p.97 Obituary: Yvette Adams, Mark Windisch p.98 The NEMA Newsletter is produced twice yearly, in the Spring and Autumn. Contributions are welcomed by the Editor, email [email protected]. Copyright of all contributions remains with the authors, and all opinions expressed are those of the authors, not the publisher. NEMA is a Registered Charity, website http://www.earlymusic.info/nema.php 2 Interview with Bruno Turner Ivan Moody Ivan Moody: How did music begin for you? Bruno Turner: My family was musical. -
PMMS L'homme Arme' Masses Discography
Missa L’homme armé Discography Compiled by Jerome F. Weber This discography of almost forty Masses composed on the cantus firmus of L’homme armé (twenty- eight of them currently represented) makes accessible a list of this group of recordings not easily found in one place. A preliminary list was published in Fanfare 26:4 (March/April 2003) in conjunction with a recording of Busnoys’s Mass. The composers are listed in the order found in Craig Wright, The Maze and the Warrior (Cambridge and London: Harvard University Press, 2001), p. 288; the list is alphabetical within broad eras. In particular, he discusses Du Fay (pp. 175ff.), Regis (pp. 178ff.), the Naples Masses (pp. 184ff.), and Josquin des Prez (pp. 188ff.). Richard Taruskin, “Antoine Busnoys and the L’Homme armé Tradition,” Journal of AMS, XXXIX:2 (Summer 1986), pp. 255-93, writes about Busnoys and the Naples Masses, suggesting (pp. 260ff.) that Busnoys’s Mass is the earliest of the group and that the Naples Masses are also by him. Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997, pp. 62ff.), suggests that Ockeghem’s setting is the earliest. Craig Wright, op. cit. (p. 175), calls Du Fay’s the first setting. Alejandro Planchart, Guillaume Du Fay (Cambridge, 2018, p. 594) firmly calls Du Fay and Ockeghem the composers of the first two Masses, jointly commissioned by Philip the Good in May 1461. For a discussion of Taruskin’s article, see Journal of AMS, XL:1 (Spring 1987), pp. 139-53 and XL:3 (Fall 1987), pp. 576-80. See also Leeman Perkins, “The L’Homme armé Masses of Busnoys and Okeghem: A Comparison,” Journal of Musicology, 3 (1984), pp. -
The Flowering of Renaissance Choral Music
THE FLOWERING OF RENAISSANCE CHORAL MUSIC EI florecimiento de la musica polifonica del Renacimiento) Pro Cantione Antiqua. Turner, Bruno, director. Misas de Busnois, Antoine; Desprez, Josquin; Ockeghem, Johannes; Pierluigi da Palestrina, Giovanni; Magnificat de De Morales, Cristobal; Miscrere mei Deus de di Lasso, Orlando; Motetes de Dunstable, John; Dufay, Guillaume; Isaac, Heinrich; et al. Archiv: 445 667-2, 199? Tiempo: 8h 8' 57"; siete discos compactos. Distribuye en Colombia: Universal Music. EL HUMANISMO EN IA MUSICA quien busca la perfecci6n en todas las artes. Su dificultad radica en la composici6n, en su ar REIlGIOSA DEL RENACIMIENTO quitectura arm6nica, donde cada una de las voces es cimiento del gran edificio coral. Por I album The Flaweri11g afRe11aissa11ce Music ello, en estos siete discos compactos escucha Ees una muestra de la polifonia renacentista mos la lenta evoluci6n de la polifonia del siglo de las escuelas inglesa, francoflamenca, italia XV, donde el ca11tus firm us, 0 voz principal, era na y espanola; quizas las mas destacadas por una melodia gregoriana 0 una canci6n popular los estudiosos de este arte tan aristocratico y como L'hamme arme, representada en las dos hedonista, donde el efecto sonoro es el elemen misas de Antoine Busnois y Josquin Desprez to constitutivo. En los siglos XV YXVllos arzo (CD 2), con una excelente interpretaci6n del gru bispos de las grandes catedrales, los reyes y po Pro Cantione Antiqua, en la cualla fidelidad emperadores mas poderosos y los mecenas al aura humanista esta presente, hasta llegar a principescos apoyaron la musica al crear la independencia de la linea mel6dica, como 10 escolanias y schalae ca11tarum, para la interpre lograrian en el siglo XVI Orlando di Lasso y taci6n de este dificil arte. -
Il Cantar Bene
Il Cantar Bene Associazione Sommario: Periodico trimestrale della Coralità Marchigiana Regionale Cori Marchigiani Calendario 2 Regionale Numero 16 Febbraio 2017 a cura della Redazione Si riparte con forza e coraggio. L’Angolo 4 della Partitura di Emiliano Finucci Il 2017, appena iniziato, si preannuncia come un anno difficile che ha messo tutti alla prova con grandi nevicate ed ancora non fa vivere tranquillamente, Partiture Corali 19 per la continua attività sismica, non ancora placata. Le calamità naturali, ab- a cura della battute sopratutto nel centro Italia, se da una parte hanno fortemente prova- Redazione to la popolazione, facendola vivere in condizioni precarie, dall'altra stimolano l'aiuto reciproco e fanno riscoprire le cose importanti della vita, il valore del- I 30 anni del 20 la solidarietà ed il senso appartenenza ad una grande comunità. Il rafforza- Coro La Cordata di Rosita Spinozzi mento della coesione sociale veicola sicuramente elementi positivi che danno il coraggio per affrontare le situazioni difficili e per guardare, con speranza, ad un futuro migliore. Proprio da questa sensazione, l'attività musicale dei cori in Le attività 25 dell’ARCOM particolare, deve trarre lo spunto per pianificare progetti, stimolare la parte- di Massimiliano cipazione e creare nuove opportunità. L’ARCOM è composta da tante per- Fiorani sone che ogni giorno si adoperano volontariamente, per trasmettere i valori della musica. Insieme si possono realizzare grandi progetti e certamente, su- Proposte 25 perare tante difficoltà, per migliorare la qualità della vita. A tal proposito, di ascolto l’appello è rivolto a tutta la coralità marchigiana, affinchè si realizzi una siner- a cura della gia di idee, di proposte, di esigenze per poter creare un vero network della Redazione musica corale che possa essere di aiuto a tutta la comunità marchigiana. -
Notes on Heinrich Isaac's Virgo Prudentissima Author(S): Alejandro Enrique Planchart Source: the Journal of Musicology, Vol
Notes on Heinrich Isaac's Virgo prudentissima Author(s): Alejandro Enrique Planchart Source: The Journal of Musicology, Vol. 28, No. 1 (Winter 2011), pp. 81-117 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2011.28.1.81 Accessed: 26-06-2017 18:47 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology This content downloaded from 128.135.12.127 on Mon, 26 Jun 2017 18:47:45 UTC All use subject to http://about.jstor.org/terms Notes on Heinrich Isaac’s Virgo prudentissima ALEJandro ENRIQUE PLANCHART Thomas Binkley in memoriam In 1520 Sigmund Grimm and Marx Wirsung published their Liber selectarum cantionum quas vulgo mutetas appellant, a choirbook that combined double impression printing in the manner of Petrucci with decorative woodcuts. As noted in the dedicatory letter by the printers and the epilogue by the humanist Conrad Peutinger, the music was selected and edited by Ludwig Senfl, who had succeeded his teacher, Heinrich Isaac, as head of Emperor Maximilian’s chapel 81 until the emperor’s death in 1519. -
Reception of Josquin's Missa Pange
THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic -
TOCC0556DIGIBKLT.Pdf
THE COUNCIL OF TRENT AND THE MUSIC OF MARC’ANTONIO INGEGNERI by Giampiero Innocente The Protestant Reformation was a storm which shook the Catholic church in every way: its dogmas, its hierarchies and the certainties of faith on which it had been based for 1,500 years were undermined at their very foundations. Luther and the reformers had called into question not only its theology and how it was articulated but also the nature of its community, its liturgy, its rituals and the music associated with them. A direct precursor of those musical changes was Luther’s translation of the Bible from Latin to German, completed in 1534, a work that became a true monument of the German language and a document that helped establish a ‘national’ identity. Although Luther had not totally rejected every musical form of the Catholic tradition – he preserved Latin hymns, for example – the new style of liturgical music he promoted was designed for a congregation that was no longer Catholic: the predominance of the Word of God, the abandonment of faith in the real presence of Christ in the Eucharist, and communion understood as being taken only ‘in memory’ of Christ’s Last Supper were fundamental elements that emboldened the newly reformed Protestant worship and generated new musical forms which were peculiar, and central, to it. Faced with this turn of events, the Catholic church gathered itself in order to launch a powerful ‘counter-reformation’ of its own, and between 1545 and 1563 its senior cardinals and clergy were convened to meet over a series of 25 sessions, now known as the Council of Trent, in order to respond to the attacks of the Protestant world that were spreading rapidly in northern Europe. -
Repertories. Tinctoris, Gaffurio and the Neapolitan Context*
GIANLUCA D'AGOSTINO READING THEORISTS FOR RECOVERING 'GHOST' REPERTORIES. TINCTORIS, GAFFURIO AND THE NEAPOLITAN CONTEXT* In 1478 the Italian theorist Franchino Gaffurio moved to Naples. The two-year stay at the local Aragonese court was essential for his edu cation for he had the opportunity to meet Johannes Tinctoris, who by that time had completed many of his known treatises. It has long been recognized that Tinctoris deeply influenced Gaffurio's thoughts on sever al controversial topics, such as proportions and mensuration signs, and the mensura! treatment of counterpoint.' Echoes, and even literal quotations, of Tinctoris' statements and crit icisms resound in Gaffurio's famous Practica musicae in four books (Mi lan, 1496), and- even more strongly- in his two earlier versions of sin gle books of the Practica (book 2: Musices practicabilis libellus; book 4: Tractatus practicabilium proportionum), compiled as independent treatis es soon after his departure from Naples, in the early 1480s. Many years * This article is a revised and expanded version of a paper read at the Med-Ren Music Conference held in Glagow, July 2004. It is ideally linked to two previous articles on similar topics already appeared in these «Studi Musicali» (:XXVIII-1999; X:XX-2001). Wormest thanks are due to Bonnie J. Blackbum, Margaret Bent and David Fallows, for their many help ful suggestions and improvements. 1 On this subject see: F. ALBERTO GALLO, Le traduzioni dal Greco per Franchino Gaffu rio, «Acta Musicologica», XXXV, 1963, pp. 172-174; ID., Citazioni da un trattato di Du/ay, «Collectanea Historiae Musicae», N, 1966, pp. 149-152; ID., lntrod. -
Program Notes
Ma maistresse: Songs, masses & a motet for My Lady Born in Saint Ghislain in the county of Hainaut (now in Belgium), probably around 1420, Johannes Ockeghem enters the historical record in 1443 as a vicaire-chanteur at the church of Our Lady in Antwerp, a modest appointment appropriate to a young professional singer. By 1446 he was working for Charles I, duke of Bourbon, and in 1451 he joined the chapel of Charles VII, king of France, whom he would serve for the rest of his career, residing mainly in Tours, where he held the prestigious and well-remunerated post of treasurer at the royal collegiate church of St-Martin. Ockeghem was esteemed by his contemporaries and successors as a master beyond compare, learned and skilled as both singer and composer, virtuous, generous, and kind. Johannes Tinctoris, in his Liber de arte contrapuncti of 1477, placed him at the head of an exalted list of composers whose works exuded divine sweetness: At this present time, not to mention innumerable singers of the most beautiful diction, there flourish, whether by the effect of some celestial influence or by the force of assiduous practice, countless composers, among them Johannes Ockeghem, Johannes Regis, Antoine Busnoys, Firminus Caron, and Guillaume Faugues, who glory in having studied this divine art under John Dunstable, Gilles Binchois, and Guillaume Du Fay, recently deceased. Nearly all the works of these men exhale such sweetness that in my opinion they are to be considered most suitable, not only for men and heroes, but even for the immortal gods, Indeed, I never hear them, I never study them, without coming away more refreshed and wiser.