DOCSLIB.ORG

Amadio Freddi 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Amadio Freddi 1 A M A D I O F R E D D I V E S P E R S ( 1 6 1 6 ) T H E G O N Z AG A BA N D JA M I E S AVA N (c.1580–1643) Ignazio Dona (c.1570–1638) Giovanni Gabrieli Amadio Freddi 1. Domine ad adiuvandum [2:13] 12. Intonazione del Terzo et Vespers (1616) Quarto Tono [0:36] Amadio Freddi (c.1580–1643) 2. Dixit Dominus * [5:20] Amadio Freddi 13. Lauda Jerusalem * [3:51] The Gonzaga Band Biagio Marini (1594–1663) 3. Sinfonia: La Cornera [2:29] Biagio Marini Faye Newton soprano 14. Sinfonia: La Marnenga [2:24] Mark Chambers countertenor Giovanni Gabrieli (c.1554/1557–1612) Tim Travers-Brown countertenor 4. Intonazione del Secondo Tono [0:28] Amadio Freddi Steven Harrold tenor (reconstructed J. Savan) Thomas Herford tenor Amadio Freddi 15. Ave maris stella * [3:36] William Gaunt bass 5. Laudate pueri * [4:03] Oliver Webber violin Amadio Freddi Jamie Savan director, corne (treble, mute) Alessandro Grandi (1586–1630) 16. Salve Regina [2:46] Steven Devine organ 6. Tota pulchra es [4:39] (soloist: Faye Newton) (soloist: Faye Newton) Andrea Gabrieli (c.1532/3–1585) Amadio Freddi 17. Intonazione del Sesto Tono [1:21] 7. Laetatus sum * [5:26] Amadio Freddi Dario Castello (fl. 1st half 17th century) 18. Magnificat Sesto Tuono * [6:23] 8. Seconda Sonata [4:43] Giovanni Gabrieli Total playing me [58:10] 9. Intonazione del Oavo Tono [0:34] About The Gonzaga Band: Amadio Freddi ‘Faultlessly stylish’ 10. Nisi Dominus * [4:12] * World premiere recording BBC Music Magazine 11. Cognoscam te, Domine [2:57] (soloist: Thomas Herford) ‘Abundant fluency, shapely virtuosity and brilliant sonorities’ Gramophone Amadio Freddi (c.1580–1643): the archival research of Nicolea Billio Biographical Note d’Arpa. When preparing his Messa, vespro We first hear of Freddi in the payment et compieta for publicaon in 1616, records of the basilica of S. Antonio in Amadio Freddi must surely have been Padua, where in January 1592 he was aware of the famous precedent of employed on a salary of eighteen ducats Monteverdi’s Mass and Vespers collecon, to sing soprano as a permanent member issued by the same Venean press of of the cappella (having previously sung Ricciardo Amadino in 1610. Yet Freddi’s for an enre year without recompense). music is no mere imitaon of Monteverdi; He was the only soprano to be paid for indeed, he emerges as a composer of his services, suggesng his status was striking originality and sophiscaon. So rather different to that of the boys who what do we know of Amadio Freddi, an normally sang unpaid as part of their elusive figure consigned unl now to ecclesiascal training. The contradictory the footnotes of music history? dates suggested for his birth year might lead us to radically different interpretaons The scant informaon on Freddi to be here. If born in 1570 he would at this found in major reference works such as point have been a young adult of twenty- the New Grove Diconary of Music and two, and as a professional soprano he is Musicians, Musik in Geschichte und not unlikely to have been a castrato. If we Gegenwart and the Dizionario Biografico believe the later birth date then he was degli Italiani is both incomplete and just twelve years old in 1592, and therefore inconsistent, and confusion abounds in a boy soprano. A further entry in the much of the underpinning scholarly payment records in 1598 adds weight to literature. For example, according to this second interpretaon: Freddi conflicng reports, Freddi was either is here listed as a contralto, suggesng 63 or 73 at his death in 1643, which his voice had broken by this point. His raises the significant queson of whether salary also doubled to thirty-six ducats at he was born in c.1570 or c.1580. The this me. following biographical sketch is therefore my best interpretaon of the available Freddi was evidently from a poor family: evidence, drawing in parcular on his Messa, vespro et compieta is dedicated to Antonio Lando, one of the procurators corne and violin. We can but speculate Freddi seems to have been highly regarded unaccompanied five-voice madrigals in of S. Marco in Venice, whom he thanks that this experience may have fuelled at S. Antonio: in 1606, following one of which Freddi can be seen experimenng for providing help ‘which I could not Freddi’s imaginaon for the possibilies the periodic reorganisaons of the with innovave harmonic devices and hope from my father due to straitened of extracng the maximum variety and cappella, he was proposed as substute voice-leading techniques that are so fortune’. His father is named in the colour from such restricted forces. maestro di cappella and elected to the characterisc of the music we hear in the records of S. Antonio as ‘Hippolito Indeed, in his first published composion, posion even in the face of opposion Vespers of 1616. Even the very first of spadaro’. In modern Italian usage a five-voice madrigal included in the from some of the senior clergy, who these madrigals includes a bold use of spadaro might suggest a swordsmith, Laudi d’amore anthology by diversi objected on the grounds that no lay- dominant seventh chords and surprising but according to Florio’s Italian-English eccellen musici di Padova in 1598, he person had occupied this posion before. false relaons in the service of expressing diconary of 1611 it referred at that me can already be seen exploing textural However, the priests eventually held the textual affect. Significantly, the second to the lowlier posion of a ‘frubber’, i.e. contrast between high and low voices sway, with the result that his appointment part of this collecon contains a further a polisher or burnisher of swords. It to simulate anphonal effects reminiscent was rescinded a month later. Perhaps eight madrigals with harpsichord appears likely, therefore, that the of a larger polychoral model. with a view to future career progression, basso connuo, in which he explores payment Freddi received from S. Antonio Freddi took holy orders in 1608. some of the concertato techniques that in 1592 was some kind of bursary A crucial figure in Freddi’s musical Nevertheless, in February 1614 he he would employ with organ connuo awarded on account of his family’s development during his formave years was again passed over for the posion in his sacred music just two years later. limited means. at S. Antonio was the renowned of maestro di cappella, which may have polyphonist Costanzo Porta, maestro precipitated his departure from S. Any documents that might have shed light Freddi entered the musical establishment di cappella from 1595 unl his death in Antonio at the end of that same month. on the musical organisaon of the cappella of S. Antonio at a me of expansion: 1601. Freddi named Porta as his teacher of Treviso Cathedral during Freddi’s tenure by 1593 it was one of the most lavishly in the preface to his first book of madrigals Freddi found new employment as maestro were unfortunately destroyed during the appointed in northern Italy, with vocal in 1602 (no longer extant), describing him di cappella at Treviso Cathedral in 1615, Second World War, but there is some useful and instrumental forces (including as a ‘true light and supreme master, not his first recorded acvity there taking informaon contained in the records of the cornes, violins and trombones) only of musical pracce but also of place in November of that year. A possible church of S. Teonisto in Treviso where Freddi appropriate for the performance of theory’. If Porta gave Freddi his schooling clue to his acvies during the intervening found secondary employment both as a polyphonic music in the grand Venean in sle anco counterpoint, the later period (from the end of February 1614) is musician and as a celebrang priest. S. style. But is seems that the church presence in S. Antonio of the theorbist, found in the preface to his second book Teonisto was aached to a Benedicne finances were not well managed, and singer and master monodist Bartolomeo of madrigals for five voices (dated 1 convent which was a source of considerable the chapel was periodically suspended Barbarino between 1606 and 1608 March 1614), dedicated to the nobleman wealth as many of the nuns were of noble and reduced in size in order to balance would surely have opened his ears to Hippolito Aldobrandini, in which he claims origin. During Freddi’s me in Treviso the the books. During such mes of the expressive possibilies of the to have been ‘received among the number church would regularly hire in the services contracon, the chapel had to make seconda praca. of his most humble servants’. The first of external musicians to perform at the do with fewer voices and a single part of this publicaon contains twelve important feast days of S. Teonisto and the Assumpon, including a number of here), Freddi returned to a mixed vocal only serve for the Sinfonias and to give although with judicious allocaon of parts singers, a cornest, a violinist and an and instrumental scoring similar to his some rest to the voices so they do not have we were able to make do with six. organist. It is not unlikely, therefore, 1616 collecon, albeit this me for to sing connuously, but are also useful for that Freddi’s Vespers music may have been two violins and bassoon. the Ripieno, in company with the voices’. To complete the Marian sequence, we performed at S.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Musica Strumentale E Committenza in Area Bresciana. Titoli E Dediche Delle Canzoni Strumentali Fra Cinque E Seicento
    Philomusica on-line 15/1 (2016) Musica strumentale e committenza in area bresciana. Titoli e dediche delle canzoni strumentali fra Cinque e Seicento Marina Toffetti Università degli Studi di Padova [email protected] § Un aspetto rilevante della storia della § An important aspect of the history cultura bresciana è la presenza, nelle of culture in Brescia is the presence, raccolte di musica strumentale, di in the collections of instrumental titoli-dedica sostantivati al femminile music, of feminine title-dedications riferiti a esponenti della nobiltà, referring to members of the nobility, compositori, musicisti e personalità di musicians and personalities the local spicco del clero locale. clergy. In questo articolo sono stati presi in In this article all titles (172) that are considerazione tutti i titoli-dedica (172) in the collections of canzonas che si trovano nelle raccolte di canzoni published in Brescia or composed by pubblicate a Brescia o composte da authors from Brescia were taken into autori bresciani e, laddove possibile, ne consideration and, where possible, sono stati identificati i dedicatari their implicit dedicatees have been impliciti. identified. Il corpus delle canzoni prodotte a The corpus of canzonas produced in Brescia fra il 1582 e il 1626-29 include Brescia between 1582 and 1626-29 otto raccolte individuali di sette includes eight individual collections compositori, per un totale di 147 of seven composers (147 instrumental canzoni strumentali, alle quali dove- canzonas); to these we must add two vano aggiungersi due raccolte che sono collections that went lost. In addition, andate perdute; altre 72 canzoni sono another 72 canzonas were published state pubblicate all’interno di raccolte in collections of vocal sacred or di musica vocale sacra o profana o di secular music, or in collections of composizioni strumentali di genere instrumental compositions of diverso dalla canzone.
    [Show full text]
  • Graduate-Dissertations-21
    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E.
    [Show full text]
  • 30Th Sunday in Ordinary Time
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist THIRTIETH SUNDAY IN ORDINARY TIME October 25, 2020 Take this leaflet with you after Mass or return it to the tray from which you took it, after which it will be destroyed. Covid guidelines prevent them from being reused. PRELUDE Johann Sebastian Bach Toccata and Fugue in F Major, BWV 540 (1685-1750) INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Psalm 104 (105):3, 4, 1 Chant, mode ii Laetetur cor quaerentium Dominum: Let the hearts of those who seek the Lord rejoice. quaerite Dominum, et confirmamini: Seek the Lord, and be strengthened; quaerite faciem ejus semper. seek his face always. V. Confitemini Domino, V. Give praise to the Lord, et invocate nomen ejus: and call upon his name; annuntiate inter gentes opera ejus. declare his works among the nations. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE Roman Missal Mass GLORIA Roman Missal Mass 2 COLLECT Almighty ever-living God, increase our faith, hope and charity, and make us love what you command, so that we may merit what you promise. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. LITURGY OF THE WORD FIRST READING Exodus 22:20-26 Thus says the Lord: “You shall not molest or oppress an alien, for you were once aliens yourselves in the land of Egypt.
    [Show full text]
  • The Science and Art of Renaissance Music-Princeton University Press
    CHAPTER ONE A Sixteenth-Century Attempt at Music Criticism A COMPLAINT SOMETIMES MADE about theorists, at least about those active be- fore the middle of the nineteenth century, is that their concerns are too exclusively prescriptive, that they rarely describe music, much less evaluate it. As musicians we can enjoy what we take to be timeless aspects of the music of the past, and we feel to a certain extent confident in our ability to distinguish level of quality and de- gree of attractiveness in it—in short to make it live as part of our own musical cul- ture. As scholars we can learn a good deal about the musical life of a period such as the Renaissance. As analysts we can take almost any music apart and reassemble it, using theoretical writings of the appropriate period as manuals wherever they are helpful. But as historians concerned not only with cultural artifacts but also with the intellectual and artistic outlook of the past we want to know not just how music was made but why it took the shapes it did, and especially how it was heard and crit- icized by those who first performed and listened to it. Not how everyone heard it, of course; if we look at the general reception of art music in our own time we can see that random sampling of opinion would not get us far, and there is no reason to sen- timentalize about a past when everyone understood and loved contemporary cul- ture. We do want to know what those critics have to say who are equipped by train- ing and temperament to give sympathetic judgment on modern music; and it is a group of this sort, comparatively large in some periods and very small in others, that we would like to have speak to us from the past.
    [Show full text]
  • Christ the King
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist SOLEMNITY OF OUR LORD JESUS CHRIST, KING OF THE UNIVERSE THE LAST SUNDAY BEFORE ADVENT November 22, 2020 The setting of the Mass Ordinary at the 12:00 Noon Mass is Missa In te Domine speravi by Giovanni Francesco Anerio (c. 1567-1630). Take this leaflet with you after Mass or return it to the tray from which you took it, after which it will be destroyed. Covid guidelines prevent them from being reused. PRELUDE César Franck TROIS CHORALS (1822-1890) Choral No. 1 in E Major INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Revelation 5:12, 1:6; Psalm 71:1 Chant, mode iii Dignus est Agnus, qui occisus est, Worthy is the Lamb that was slain accipere virtutem, et divinitatem, to receive power, and divinity, et sapientiam, et fortitudinem, et honorem. and wisdom, and strength, and honor. Ipsi gloria et imperium in saecula saeculorum. To him be glory and empire for ever and ever. V. Deus judicium tuum regi da: V. O God, with your judgement endow the king, et justitiam tuam filio regis. and with your justice, the king’s son. SIGN OF THE CROSS, GREETING, AND PENITENTIAL ACT KYRIE Roman Missal Mass GLORIA Roman Missal Mass 2 COLLECT Almighty ever-living God, whose will is to restore all things in your beloved Son, the King of the universe, grant, we pray, that the whole creation, set free from slavery, may render your majesty service and ceaselessly proclaim your praise.
    [Show full text]
  • And Elbląg of the Renaissance Era
    The Beginnings of Musical Italianità in Gdańsk and Elbląg of the Renaissance Era AGNIESZKA LESZCZYŃSKA University of Warsaw Institute of Musicology The Beginnings of Musical Italianità in Gdańsk and Elbląg of the Renaissance Era Musicology Today • Vol. 10 • 2013 DOI: 10.2478/muso-2014-0001 In the second half of the sixteenth century almost the with the Italian language and culture. A sizeable group of whole of Europe was gradually engulfed by the fashion for settlers from the Apennine Peninsula had lived in Cracow Italian music. The madrigal became the favourite genre, from the beginning of the century, and that community which entered the repertory in different countries both in expanded significantly in 1518, after the arrival in Poland its original version and as contrafactum, intabulation or of Bona Sforza, the newly wedded wife of King Sigismund as the basis for missa parodia1. The madrigal and related I.4 Those brought to Poland by Bona included musicians: genres, such as canzona alla villanesca, also became the Alessandro Pesenti from Verona, who had previously subject of imitations, often composed by musicians who served as organist at the court of Cardinal Ippolito d’Este, had no links to Italy at all. Other genres employed by and who was active at Bona’s Cracovian court during the Italian composers, above all masses and motets, were also years 1521-1550, and Lodovico Pocenin, a cantor from of great interest to musicians throughout the continent. Modena, whose name appears in the records in 15275. It Undoubtedly it was the activity of the numerous is not impossible that Pesenti, as an organist, was in some Italian, mainly Venetian, printing houses which played way and to some degree responsible for the fact that the a decisive role in promoting these works; in terms of two Polish sources of keyboard music created ca 1548 titles produced, they held the leading position in Europe2.
    [Show full text]
  • The Parish of St. Vincent Ferrer and St. Catherine of Siena
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist TWENTY-SECOND SUNDAY IN ORDINARY TIME August 30, 2020 The 12:00 Noon Mass is preceded by the recitation of the Holy Rosary at 11:40 AM. Take this leaflet with you after Mass or return it to the tray from which you took it, after which it will be destroyed. INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Miserere mihi, Domine Psalm 85 (86):3, 5 Chant, mode viii Have mercy on me, O Lord, for I have cried to you all the day, for you, O Lord, are sweet and mild, and plenteous in mercy to all who call upon you. SIGN OF THE CROSS AND GREETING PENITENTIAL ACT KYRIE AND GLORIA Roman Missal Mass COLLECT God of might, giver of every good gift, put into our hearts the love of your name, so that, by deepening our sense of reverence, you may nurture in us what is good and, by your watchful care, keep safe what you have nurtured. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever. Amen. LITURGY OF THE WORD FIRST READING Jeremiah 20:7-9 You duped me, O Lord, and I let myself be duped; you were too strong for me, and you triumphed. All the day I am an object of laughter; everyone mocks me. Whenever I speak, I must cry out, violence and outrage is my message; the word of the Lord has brought me derision and reproach all the day.
    [Show full text]
  • Ph.D. Dissertations in Musicology University of North Carolina At
    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2019 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E. Muns, Jr. Climax in Music (under the direction of William S.
    [Show full text]
  • A Study of Monteverdi's Three Genera from the Preface to Book Viii of Madrigals in Relation to Operatic Characters in Il
    A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII OF MADRIGALS IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by JÚLIA COELHO Dr. Judith Mabary, Thesis Advisor JULY 2018 © Copyright by Júlia Coelho 2018 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the thesis entitled A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA presented by Júlia Coelho, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Judith Mabary ________________________________________ Professor Michael J. Budds ________________________________________ Professor William Bondeson ________________________________________ Professor Jeffrey Kurtzman ACKNOWLEDGEMENTS Over the last years, I have been immensely fortunate to meet people who have helped me tremendously—and still do—in building my identity as an aspiring scholar / performer in the Early Music field. The journey of researching on Claudio Monteverdi that culminated in this final thesis was a long process that involved the extreme scrutiny, patience, attentive feedback, and endless hours of revisions from some of these people. To them, I am infinitely grateful for the time they dedicated to this project. I want to ex- press first my deep gratitude to my professors and mentors, Dr.
    [Show full text]
  • Josquin Des Prez in Fact and Legend
    Personal Prayer : Music from the Earliest Notations to the Sixteent... http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Marian antiphon Guillaume Du Fay PERSONAL PRAYER Chapter: CHAPTER 13 Middle and Low Source: MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY Author(s): Richard Taruskin These Marian antiphon settings sound a conspicuously personal note that we have not previously encountered in liturgical music. That is another aspect of “middling” tone; but it accords well with the votive aspects of Marian worship, the component of the Christian liturgy that in those days was most intensely “personal.” That, too, was something that could be thematized by a knowing composer, especially a knowing churchman-composer. The supreme case in point for a fifteenth-century motet is the third and most splendid setting Du Fay made of the Marian antiphon Ave Regina coelorum, copied into the choirbooks of Cambrai Cathedral in 1465. It is as impressive a motet as Du Fay or anyone ever composed, but it is impressive in an altogether different way from his earlier large-scale motet settings. Where the isorhythmic Nuper rosarum flores (Ex. 8-8) had impressed by its monumentality, Ave Regina coelorum impresses with an altogether unprecedented expressive intensity—unprecedented, that is, within the motet genre. The personal and votive aspect of this motet are epitomized in a moving set of tropes that Du Fay interpolated into the canonical text of the antiphon, representing a prayer for his own salvation that he wanted sung at his deathbed, and that he wanted to go on being recited after his death in perpetuity, for which, a rich man, he provided an endowment in his will: Ave regina coelorum, Hail, O Queen of Heaven! Ave Domina angelorum, Hail, O Ruler of the Angels! Miserere tui Have mercy on labentis Dufaÿ Thy failing Du Fay, Ne peccatorum throw him not into the in ignem fervorum.
    [Show full text]
  • Cultura Musicale Bresciana Reperti E Testimonianze Di Una Civiltà
    ANNALI DI STORIA BRESCIANA 5 Cultura musicale bresciana Reperti e testimonianze di una civiltà a cura di Maria Teresa Rosa Barezzani e Mariella Sala Ateneo di Brescia Accademia di Scienze Lettere ed Arti -0 Pagine di guardia.indd 3 03/01/18 12:19 © 2017 Editrice Morcelliana Via Gabriele Rosa 71 - 25121 Brescia Prima edizione: dicembre 2017 Redazione a cura di Enrico Valseriati Indice dei nomi a cura di Marcello Mazzetti e Livio Ticli Crediti fotografici: Bologna, Biblioteca Universitaria Brescia, Biblioteca Civica Queriniana Brescia, Musei Civici di Arte e Storia Brescia, Museo Diocesano Brescia, Pinacoteca Tosio-Martinengo Cremona, Biblioteca del Seminario Vescovile Londra, British Library Londra, British Museum Oxford, Bodleian Library Tolosa, Musée Paul-Dupuy Tunisi, Museo del Bardo Gli Annali di storia bresciana, promossi dall’Ateneo di Brescia, sono realizzati con il contributo della UBI Fondazione CAB www.morcelliana.com I diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento totale o parziale, con qualsiasi mezzo (compresi i microfilm), sono riservati per tutti i Paesi. Le fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, commi 4 e 5, della legge 22 aprile 1941, n. 633. Le fotocopie effettuate per finalità di carattere professionale, economico o commerciale o comunque per uso diverso da quello personale possono essere effettuate a seguito di specifica autorizzazione
    [Show full text]