19/05/2008
18/05/2008
Guillaume de Machaut - 14th century
Guillaume de Machaut
c. 1300-1377
Guillaume de Machaut was a French poet and the most accomplished and versatile composer of the 14th century. A member of the household of King John of Bohemia from 1323, Machaut later became a canon of Reims, where he resided from 1340 until his death. As a young man he accompanied the king on military expeditions and developed a distinct fondness for falconry, horseback riding, and adventure. The richness and diversity of his experiences served him in good stead when he wrote his numerous and expansive collections of poetry, many of which were graced with musical compositions. His later patrons included the king's daughter, Bonne of Luxembourg, Charles of Navarre, and King Charles V of France. Several of the richly illuminated manuscripts of his works were prepared under his close supervision for the benefit of noble and royal protectors.
Machaut's short, gemlike lyrics helped establish the rondeaux, ballade, and virelai, poetic forms that prevailed for more than a century. Nearly all the virelais he set to music are monophonic (set to a single line of melody). His graceful polyphonic (multivoice) ballades and rondeaux also set European secular song style for the next century: a high, sung melody accompanied by two lower instrumental parts. Of his 23 motets, 6 are to liturgical Latin texts and 17 to secular French texts. They are in three parts, with complex rhythmic and interwoven melody textures. Structurally, they are isorhythmic, or based on long underlying melodic and rhythmic cycles. His four-part Messe de Notre Dame is the earliest known polyphonic setting of the mass by a single composer. Also isorhythmic, it is monumental and austere, with driving rhythms and clashing dissonances. His musical works include 19 lais, 4 of which are polyphonic; 42 ballades ranging from one to four voices; 21 rondeaux; and 33 virelais.
Link
c. 1300-1377
Guillaume de Machaut was a French poet and the most accomplished and versatile composer of the 14th century. A member of the household of King John of Bohemia from 1323, Machaut later became a canon of Reims, where he resided from 1340 until his death. As a young man he accompanied the king on military expeditions and developed a distinct fondness for falconry, horseback riding, and adventure. The richness and diversity of his experiences served him in good stead when he wrote his numerous and expansive collections of poetry, many of which were graced with musical compositions. His later patrons included the king's daughter, Bonne of Luxembourg, Charles of Navarre, and King Charles V of France. Several of the richly illuminated manuscripts of his works were prepared under his close supervision for the benefit of noble and royal protectors.
Machaut's short, gemlike lyrics helped establish the rondeaux, ballade, and virelai, poetic forms that prevailed for more than a century. Nearly all the virelais he set to music are monophonic (set to a single line of melody). His graceful polyphonic (multivoice) ballades and rondeaux also set European secular song style for the next century: a high, sung melody accompanied by two lower instrumental parts. Of his 23 motets, 6 are to liturgical Latin texts and 17 to secular French texts. They are in three parts, with complex rhythmic and interwoven melody textures. Structurally, they are isorhythmic, or based on long underlying melodic and rhythmic cycles. His four-part Messe de Notre Dame is the earliest known polyphonic setting of the mass by a single composer. Also isorhythmic, it is monumental and austere, with driving rhythms and clashing dissonances. His musical works include 19 lais, 4 of which are polyphonic; 42 ballades ranging from one to four voices; 21 rondeaux; and 33 virelais.
Link
17/05/2008
Philosophy, Music and Emotion
Wishlist: Philosophy, Music and Emotion - Geoffrey Madell
Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music's power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and also to the dominant "cognitivist" approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgments and beliefs. This book argues that the cognitivist account of the nature of emotion is false and should be replaced with a conception of emotions as states of feeling. Central to this bold analysis is a new account of two closely connected mental states, desire and pleasure, and their role in human motivation. About the Author: Geoffrey Madell is Honorary Faculty Fellow in the department of philosophy at the University of Edinburgh.
Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music's power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century critic Hanslick, and also to the dominant "cognitivist" approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgments and beliefs. This book argues that the cognitivist account of the nature of emotion is false and should be replaced with a conception of emotions as states of feeling. Central to this bold analysis is a new account of two closely connected mental states, desire and pleasure, and their role in human motivation. About the Author: Geoffrey Madell is Honorary Faculty Fellow in the department of philosophy at the University of Edinburgh.
16/05/2008
Vivaldi - the red heared priest
Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741),[1] nicknamed il Prete Rosso ("The Red Priest"), was a Venetian priest and Baroque music composer, as well as a famous virtuoso violinist; he was born and raised in the Republic of Venice. The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular Baroque piece. Read more...
Vivaldi - de roodharige priester
Antonio Lucio Vivaldi (4 maart 1678 – 27 juli 1741), bijgenaamd Il Prete Rosso (de rode priester) was een Italiaanse violist, priester en componist.
Hij werd geboren in Venetië. Zijn vader, een kapper, hielp hem in zijn carrière in de muziek en meldde hem aan bij de Cappella di San Marco, waar vader Vivaldi zelf een vooraanstaand violist was (en door sommigen zelfs een virtuoos genoemd werd).
In 1703 werd Vivaldi priester. Hij kreeg al snel de bijnaam Il Prete Rosso ("de rode priester"), vermoedelijk vanwege zijn rode haar. Vanaf 1704 hoefde hij niet meer deel te nemen aan de heilige mis in verband met zijn slechte gezondheid: hij leed aan astma. Vivaldi werd vioolleraar in een meisjesweeshuis in Venetië, het Pio Ospedale della Pietà. De musicerende wezen stegen snel in aanzien, ook in het buitenland. Voor hen schreef Vivaldi de meeste van zijn concerten, cantates en gewijde muziek. In 1705 werd de eerste verzameling (raccolta) van zijn werk gepubliceerd en er zouden er nog vele volgen. Als hij niet op één van zijn vele reizen was, vervulde Vivaldi verschillende taken in het weeshuis. In 1713 kreeg hij de verantwoordelijkheid voor alle muzikale activiteiten in het instituut. Lees meer...
Listen to music from Vivaldi: The Four Seasons
14/05/2008
First great madrigalist
The first great madrigalist is Philippe Verdelot, a French composer. A look at his production shows a wide spectrum of literary interests and a remarkable ability to give musical form to the structure as well as the content of a great variety of poems. Verdelot's style balances homophonic with imitative textures, rarely using word-painting.
The first book of madrigals labeled as such was the Madrigali de diversi musici: libro primo de la Serena of Philippe Verdelot, published in 1530 in Rome. Verdelot, had written the pieces in the late 1520s, while he lived in Florence. He included music by both Sebastiano and Costanzo Festa, as well as Maistre Jhan of Ferrara, in addition to his own music. In 1533 and 1534 he published two books of four voice madrigals in Venice; these were to become extremely popular, and indeed they were, in their 1540 reprint, one of the most widely printed and distributed music books of the first half of the 16th century. They sold so well that Adrian Willaert made arrangements of some of these works for single voice and lute in 1536. Verdelot published madrigals for five and six voices as well, with the collection for six voices appearing in 1541. Philippe Verdelot was associated at the Medici Court.
The first book of madrigals labeled as such was the Madrigali de diversi musici: libro primo de la Serena of Philippe Verdelot, published in 1530 in Rome. Verdelot, had written the pieces in the late 1520s, while he lived in Florence. He included music by both Sebastiano and Costanzo Festa, as well as Maistre Jhan of Ferrara, in addition to his own music. In 1533 and 1534 he published two books of four voice madrigals in Venice; these were to become extremely popular, and indeed they were, in their 1540 reprint, one of the most widely printed and distributed music books of the first half of the 16th century. They sold so well that Adrian Willaert made arrangements of some of these works for single voice and lute in 1536. Verdelot published madrigals for five and six voices as well, with the collection for six voices appearing in 1541. Philippe Verdelot was associated at the Medici Court.
13/05/2008
Baroque Music - Wikipedia
Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. This era is said to begin in music after the Renaissance and was followed by the Classical music era. The original meaning of "baroque" is "irregular pearl", a strikingly fitting characterization of the architecture of this period; later, the name came to be applied also to its music. Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. It is associated with composers such as Claudio Monteverdi, Antonio Vivaldi, George Frideric Handel, and Johann Sebastian Bach. The baroque period saw the development of diatonic tonality. During the period composers and performers used more elaborate musical ornamentation; made changes in musical notation, and developed new instrumental playing techniques. Baroque music expanded the size, range and complexity of instrumental performance, and also established opera as a musical genre. Many musical terms and concepts from this era are still in use today. Read more
12/05/2008
Joodse Barok muziek
Muziek tussen twee culturen, joodse barokmuziek in katholiek Italië
Muziek tussen twee culturen: de Italiaanse operastijl met Hebreeuwse teksten. Een klinkend bewijs van iets bijzonders van 275 jaar geleden. “Dio, Clemenza e Rigore” (Hoshana Rabbah in Casale Monferrato 1733) Dit werk is een bijna uur durende ceremonie voor Hoshana Rabbah, de zevende dag van Soekot (Loofhuttenfeest) en is geschreven voor het jaar 1733 in Casale Monferrato. Het werk bestaat uit een paar liturgische liederen en een uitgebreide cantate quasi oratorium, waarin Dio (God), Clemenza (verdediger) en Rigore (aanklager) met elkaar in discussie gaan. Libretto is van S.H. Jarach, de muziek is in typische Italiaanse opera stijl; waarschijnlijk hebben meerdere componisten eraan meegewerkt, maar in ieder geval is de ouverture van Antonio Brioschi. Het manuscript uit Mantua ligt nu in de nationale bibliotheek in Moskou. Het werk geeft een goed beeld van cultureel leven van de Joodse gemeenschappen in Italië in de 17e/18e eeuw, waarbij gezocht werd naar mengvormen van traditionele liturgische gezangen met de muzikale mode van die tijd. In die zin is het van muziekwetenschappelijk en cultuurhistorisch belang. De gezongen taal is Hebreeuws. Het werk is vrijwel nooit uitgevoerd en niet opgenomen.
Vrijdag 27 juni 2008: Leiden, symposium over Joodse Barokmuziek met concert i.s.m. Universiteit.
Bezetting: 3 zangers, strijkers, hobo, fagot, clavecimbel.
Hanna Kopra – mezzo-sopraan; Immo Schröder – tenor; Ken Gould – bariton
Apollo Ensemble o.l.v. David Rabinovich.
11/05/2008
Festival Europa Cantat 2009 in the Netherlands
Do you love singing?
If so, do join us in Utrecht in the summer of 2009 for the international festival for amateur singers. The Europa Cantat festival takes place every three years, and next time it's in Utrecht, the Netherlands! From 17 to 26 July 2009 you and your choir or ensemble, or just you on your own, can take part in ateliers, meet people from all sorts of countries, enjoy singing with topconductors and listening to music: classical music, vocal jazz, showchoir, opera and musical. More than 3000 singers are expected to attend. Do make sure you're one of them!
Repertoire will include the following:
- oratoria
- a daily Bach cantata
- early Music from The Netherlands including Sweelinck
- polychoral music from Italy by Gabrieli and Marenzio
- latinamerican choral music
Hou je van zingen?
Kom dan naar hét internationale festival voor amateurzangers, in de zomer van 2009 in Utrecht. Het festival van EUROPA CANTAT XVll vindt één keer in de drie jaar plaats, en de komende keer is dat in Utrecht!
Van 17 t/m 26 juli 2009 kun je met je koor, ensemble of individueel meedoen aan uitdagende en inspirerende ateliers, mensen van allerlei nationaliteiten ontmoeten en genieten van samen zingen onder leiding van grote dirigenten, en luisteren naar klassieke muziek, vocal jazz, showchoir, opera en musical. Er worden ruim 3000 deelnemers verwacht. Zorg dat je erbij bent!
Repertoire o.a.:
- oratoria
- elke dag een Bachcantate
- oude muziek uit de Nederlanden, met o.a. Sweelinck
- meerkorige muziek uit Italië van Gabrieli en Marenzio
- latijnsamerikaanse koormuziek
Link
Vienna, melting pot of Baroque
Vienna was at the beginning of the 18th century capital of a powerful empire, a city where lines and influences from complete Europe crossed each other. The imperial court gave status and power to that process, but could not without the creativity of brio from particularly Italy and Bohemia. The style was characterised by strict counterpoint versus polished emotion. Key characters in the Viennese music society were Antonio Caldara (1670-1736) and Johann Joseph Fux (1660-1741). Both were operative to the Viennese court and had their training enjoyed at Corelli. Fux were the brilliant counterpoint. He understood if no other one art romped a musical of creating space by votes which imitated each other according to the strict rules of the counterpoint and for each other gone, a type musical maths. Its merit is especially that he has made the art of polyphony, arranged in the Renaissance large made by Palestrina, for the baroque. Caldara's largest strength lay in the emotion. He was a master in writing refined, polished lines which perfectly bring the text and the affects in this to expression.
Caldara and Fux were the big examples for number tsjechen such as František Ignác Antonín Tůma (1704-1774). Tůma had been since 1722 in Vienna active. Probably he has had lesson of the large counterpoint Fux. But in Vienna of 1750 a new wind in music started blow. More and more music grew into the galante style. That style got later its peak in the music of Mozart and Haydn. Interestingly in the music of Tůma is the galante style announcing late-baroque. Listen to: Tůma: Stabat Mater from vocal ensemble Trajecti Voces, Utrecht. Conductor Dirkjan Horringa
Wenen, de smeltkroes van de Barok
Wenen was aan het begin van de 18e eeuw hoofdstad van een machtig imperium, een stad waar lijnen en invloeden uit heel Europa elkaar kruisten. Het keizerlijke hof gaf dat proces status en macht, maar kon niet zonder de creativiteit van talenten uit met name Italië en Bohemen. De stijl werd gekenmerkt door streng contrapunt versus gepolijste emotie. Sleutelfiguren in het Weense muziekleven waren Antonio Caldara (1670-1736) en Johann Joseph Fux (1660-1741). Beiden waren werkzaam aan het Weense hof en hadden hun opleiding genoten bij Corelli. Fux was de geniale contrapuntist. Hij verstond als geen ander de kunst om een muzikale ruimte te scheppen door stemmen die volgens de strenge regels van het contrapunt elkaar imiteerden en om elkaar heen dartelden, een soort muzikale wiskunde. Zijn verdienste is vooral dat hij de kunst van de polyfonie, in de Renaissance groot gemaakt door Palestrina, geschikt heeft gemaakt voor de barok. Caldara’s grootste kracht lag in de emotie. Hij was een meester in het schrijven van verfijnde, gepolijste lijnen die de tekst en de affecten daarin perfect tot uitdrukking brengen. Caldara en Fux waren dé grote voorbeelden voor getalenteerde Tsjechen zoals František Ignác Antonín Tůma (1704-1774). Tůma is auteur van kerkmuziek, waaronder 65 missen, 20 litanieën, veel vespers, motetten en vijf Stabat Maters. Heel veel van zijn muziek is nog onuitgegeven. Tůma was sinds 1722 in Wenen actief. Waarschijnlijk heeft hij er les gehad van de grote contrapuntist Fux, zoveel is wel te zien aan zijn doorwrochte schrijfstijl. Maar in het Wenen van 1750 begon een nieuwe wind in de muziek te waaien. Meer en meer kwam de galante stijl in de mode. Die stijl kreeg later zijn hoogtepunt in de muziek van Mozart en Haydn. Interessant in de muziek van Tůma is de subtiele manier waarop de galante stijl zich aankondigt in een overwegend laat-barokke stijl.
Beluistert u het vocaal ensemble Trajecti Voces, projectkoor van dirigent Dirkjan Horringa: Tůma - muziekfragment: Stabat Mater.
Caldara and Fux were the big examples for number tsjechen such as František Ignác Antonín Tůma (1704-1774). Tůma had been since 1722 in Vienna active. Probably he has had lesson of the large counterpoint Fux. But in Vienna of 1750 a new wind in music started blow. More and more music grew into the galante style. That style got later its peak in the music of Mozart and Haydn. Interestingly in the music of Tůma is the galante style announcing late-baroque. Listen to: Tůma: Stabat Mater from vocal ensemble Trajecti Voces, Utrecht. Conductor Dirkjan Horringa
Wenen, de smeltkroes van de Barok
Wenen was aan het begin van de 18e eeuw hoofdstad van een machtig imperium, een stad waar lijnen en invloeden uit heel Europa elkaar kruisten. Het keizerlijke hof gaf dat proces status en macht, maar kon niet zonder de creativiteit van talenten uit met name Italië en Bohemen. De stijl werd gekenmerkt door streng contrapunt versus gepolijste emotie. Sleutelfiguren in het Weense muziekleven waren Antonio Caldara (1670-1736) en Johann Joseph Fux (1660-1741). Beiden waren werkzaam aan het Weense hof en hadden hun opleiding genoten bij Corelli. Fux was de geniale contrapuntist. Hij verstond als geen ander de kunst om een muzikale ruimte te scheppen door stemmen die volgens de strenge regels van het contrapunt elkaar imiteerden en om elkaar heen dartelden, een soort muzikale wiskunde. Zijn verdienste is vooral dat hij de kunst van de polyfonie, in de Renaissance groot gemaakt door Palestrina, geschikt heeft gemaakt voor de barok. Caldara’s grootste kracht lag in de emotie. Hij was een meester in het schrijven van verfijnde, gepolijste lijnen die de tekst en de affecten daarin perfect tot uitdrukking brengen. Caldara en Fux waren dé grote voorbeelden voor getalenteerde Tsjechen zoals František Ignác Antonín Tůma (1704-1774). Tůma is auteur van kerkmuziek, waaronder 65 missen, 20 litanieën, veel vespers, motetten en vijf Stabat Maters. Heel veel van zijn muziek is nog onuitgegeven. Tůma was sinds 1722 in Wenen actief. Waarschijnlijk heeft hij er les gehad van de grote contrapuntist Fux, zoveel is wel te zien aan zijn doorwrochte schrijfstijl. Maar in het Wenen van 1750 begon een nieuwe wind in de muziek te waaien. Meer en meer kwam de galante stijl in de mode. Die stijl kreeg later zijn hoogtepunt in de muziek van Mozart en Haydn. Interessant in de muziek van Tůma is de subtiele manier waarop de galante stijl zich aankondigt in een overwegend laat-barokke stijl.
Beluistert u het vocaal ensemble Trajecti Voces, projectkoor van dirigent Dirkjan Horringa: Tůma - muziekfragment: Stabat Mater.
10/05/2008
Nieuw Ensemble & mijn kennismaking met de 'Neun Deutsche Arien' van G.F.Händel
Ensembl’Elaboratio bestaat uit blokfluitiste Anne-marije de Haas en klavecinist Marco Hup. Het repertoire omvat talrijke composities uit met name de renaissance en de barok.
Het uit Zwolle afkomstige Ensembl’Elaboratio voerde zaterdag 29 maart de ‘Neun Deutsche Arien’ van G.F.Händel uit in de Open Kring in Stadshagen te Zwolle. Deze negen bijzondere aria’s worden omlijst door drie sonates van de Italiaanse componist P.A. Locatelli. De bezetting was zeer intiem en bestond uit zangstem, een solo-instrument en basso-continuo. Tekst en muziek zijn karakteristiek voor het einde van het Barokke tijdperk. Het ensemble was voor deze gelegenheid uitgebreid met mezzosopraan Ineke Vlogtman.
Persbericht en recensie w.reezigt
09/05/2008
The End of Early Music (book)
The End of Early Music
A Period Performer's History of Music for the Twenty-First Century
Bruce Haynes
ISBN13: 9780195189872
Jun 2007
Its performing traditions lost to time, early music has become the subject of significant controversy across the world of classical music and presents numerous challenges for musicians, composers, and even listening audiences. The studies of instruments and notes on early manuscript pages may help to restore early music to its intended state, yet the real process is interpretive, taking place within performers themselves.
This book is about historical performance practice in its broadest sense. A veteran of the early music movement and an experienced performer himself, Bruce Haynes begins by identifying the most common performing styles, using and comparing sound recordings from the past. To help musicians distinguish between Period and Romantic styles, he expertly engages with the most current and controversial topics in the field in defining the differences between them. Throughout, he presents many compelling arguments for using pre-Romantic values as inspiration to re-examine and correct Romantic assumptions about performance.
This book also offers a fresh perspective on a broad spectrum of questions about music in history. From Werktreue and the Urtext imperative to formality in ritualized performances and authenticity as an industry standard, Haynes offers straightforward explanations of the most significant questions in the field. Two chapters compare Baroque expression through rhetoric and gestural phrasing to the Romantic concept of autobiography in notes. Throughout his fascinating discussions of descriptive and prescriptive musical notation, the Romantic interpretive conductor in early music, and the controversial practice of composing in Period style, Haynes argues that performances are more pleasing and convincing to contemporary performers and listeners not through the attempt to return to the past, but rather by endeavoring to revive as best we can the styles and techniques that originally produced the music.
Part history, part critical reflection on the state of the authenticity movement, The End of Early Music describes a vision of the future that involves improvisation, rhetorical expression, and composition. This stimulating and compelling book will appeal to musicians and non-musicians alike.
Reviews
"'Early Music' (with its off-putting "scare-quotes") is dead; long live early music! Reading the mature reflections of one of the 'Early Music Movement's' important revolutionaries about the panorama of performing styles in today's musical world is both a pleasure and a challenge. Mr. Haynes's breadth and depth of learning and observation is admirable, but more important is his clear-minded yet passionate formulation of an artistic vision of creative musicianship for our time."--Stephen Stubbs, Northwest Center for Early Music Studies
"From one of the brightest lights in the field of baroque music comes yet another indispensable book. Only Haynes, a performer of great sensitivity and dedication to the 'project' of historical performance, only Haynes, a scholar of alacrity and dynamism, only Haynes, who for over thirty years has never stopped interrogating what we are doing when we approach the past in performance, only Haynes could have written a brilliant book for early music in the new millennium. It is thoughtful, iconoclastic, tender, and honest. This is the new Quantz-obligatory reading for everyone who cares about early music."--Kate van Orden, performer on historical instruments and Professor, University of California, Berkeley
"Haynes has made a series of subtle and important points for all listeners, musicians, all artists and potentially all art in fact, very well.... If you have anything but the most casual interest in music before 1800 and its most proper and effective performance, then this readable and well-argued book, which has a great balance of technical and non-technical illustrations for the practicing musician and listener alike, should not be ignored. Thoroughly recommended."--Mark Sealey, Classical Net
About the Author(s): Recently retired as a performer, Bruce Haynes worked for many years in Holland. He introduced the hautboy into the Dutch music curriculum, teaching at the Royal Conservatory. Currently, he is Associate Professor in the Faculty of Music at the University of Montreal. He has published widely on the history of the oboe and performing pitch standards.
Link
A Period Performer's History of Music for the Twenty-First Century
Bruce Haynes
ISBN13: 9780195189872
Jun 2007
Its performing traditions lost to time, early music has become the subject of significant controversy across the world of classical music and presents numerous challenges for musicians, composers, and even listening audiences. The studies of instruments and notes on early manuscript pages may help to restore early music to its intended state, yet the real process is interpretive, taking place within performers themselves.
This book is about historical performance practice in its broadest sense. A veteran of the early music movement and an experienced performer himself, Bruce Haynes begins by identifying the most common performing styles, using and comparing sound recordings from the past. To help musicians distinguish between Period and Romantic styles, he expertly engages with the most current and controversial topics in the field in defining the differences between them. Throughout, he presents many compelling arguments for using pre-Romantic values as inspiration to re-examine and correct Romantic assumptions about performance.
This book also offers a fresh perspective on a broad spectrum of questions about music in history. From Werktreue and the Urtext imperative to formality in ritualized performances and authenticity as an industry standard, Haynes offers straightforward explanations of the most significant questions in the field. Two chapters compare Baroque expression through rhetoric and gestural phrasing to the Romantic concept of autobiography in notes. Throughout his fascinating discussions of descriptive and prescriptive musical notation, the Romantic interpretive conductor in early music, and the controversial practice of composing in Period style, Haynes argues that performances are more pleasing and convincing to contemporary performers and listeners not through the attempt to return to the past, but rather by endeavoring to revive as best we can the styles and techniques that originally produced the music.
Part history, part critical reflection on the state of the authenticity movement, The End of Early Music describes a vision of the future that involves improvisation, rhetorical expression, and composition. This stimulating and compelling book will appeal to musicians and non-musicians alike.
Reviews
"'Early Music' (with its off-putting "scare-quotes") is dead; long live early music! Reading the mature reflections of one of the 'Early Music Movement's' important revolutionaries about the panorama of performing styles in today's musical world is both a pleasure and a challenge. Mr. Haynes's breadth and depth of learning and observation is admirable, but more important is his clear-minded yet passionate formulation of an artistic vision of creative musicianship for our time."--Stephen Stubbs, Northwest Center for Early Music Studies
"From one of the brightest lights in the field of baroque music comes yet another indispensable book. Only Haynes, a performer of great sensitivity and dedication to the 'project' of historical performance, only Haynes, a scholar of alacrity and dynamism, only Haynes, who for over thirty years has never stopped interrogating what we are doing when we approach the past in performance, only Haynes could have written a brilliant book for early music in the new millennium. It is thoughtful, iconoclastic, tender, and honest. This is the new Quantz-obligatory reading for everyone who cares about early music."--Kate van Orden, performer on historical instruments and Professor, University of California, Berkeley
"Haynes has made a series of subtle and important points for all listeners, musicians, all artists and potentially all art in fact, very well.... If you have anything but the most casual interest in music before 1800 and its most proper and effective performance, then this readable and well-argued book, which has a great balance of technical and non-technical illustrations for the practicing musician and listener alike, should not be ignored. Thoroughly recommended."--Mark Sealey, Classical Net
About the Author(s): Recently retired as a performer, Bruce Haynes worked for many years in Holland. He introduced the hautboy into the Dutch music curriculum, teaching at the Royal Conservatory. Currently, he is Associate Professor in the Faculty of Music at the University of Montreal. He has published widely on the history of the oboe and performing pitch standards.
Link
07/05/2008
Textlyric: Misere mei, Deus
Miserere mei, Deus: secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum, dēlē iniquitatem meam.
Amplius lavā me ab iniquitate mea: et a peccato meo mundā me.
Quoniam iniquitatem meam ego cognōscō: et peccatum meum contra me est semper.
Tibi soli peccāvī, et malum coram te fēcī: ut justificeris in sermonibus tuis, et vincās cum judicaris.
Ecce enim in inquitatibus conceptus sum: et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.
Asperges me, Domine, hyssopo, et mundābor: lavābis me, et super nivem dēalbābor.
Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata.
Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele.
Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis.
Ne projicias me a facie tua: et spiritum sanctum tuum ne auferas a me.
Redde mihi laetitiam salutaris tui: et spiritu principali confirma me.
Docebo iniquos vias tuas: et impii ad te convertentur.
Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam.
Domine, labia mea aperies: et os meum annuntiabit laudem tuam.
Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis.
Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies.
Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Jerusalem.
Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.
Translation (King James Bible)
Have mercy upon me, O God, according to thy lovingkindness:
According unto the multitude of thy tender mercies blot out my transgressions.
Wash me throughly from mine iniquity, and cleanse me from my sin.
For I acknowledge my transgressions: and my sin is ever before me.
Against thee, thee only, have I sinned, and done this evil in thy sight: that thou mightest be justified when thou speakest, and be clear when thou judgest.
Behold, I was shapen in iniquity; and in sin did my mother conceive me.
Behold, thou desirest truth in the inward parts: and in the hidden part thou shalt make me to know wisdom.
Purge me with hyssop, and I shall be clean: wash me, and I shall be whiter than snow.
Make me to hear joy and gladness; that the bones which thou hast broken may rejoice.
Hide thy face from my sins, and blot out all mine iniquities.
Create in me a clean heart, O God; and renew a right spirit within me.
Cast me not away from thy presence; and take not thy holy spirit from me.
Restore unto me the joy of thy salvation; and uphold me with thy free spirit.
Then will I teach transgressors thy ways; and sinners shall be converted unto thee.
Deliver me from bloodguiltiness, O God, thou God of my salvation: and my tongue shall sing aloud of thy righteousness.
O Lord, open thou my lips; and my mouth shall shew forth thy praise.
For thou desirest not sacrifice; else would I give it: thou delightest not in burnt offering.
The sacrifices of God are a broken spirit: a broken and a contrite heart, O God, thou wilt not despise.
Do good in thy good pleasure unto Zion: build thou the walls of Jerusalem.
Then shalt thou be pleased with the sacrifices of righteousness, with burnt offering and whole burnt offering: then shall they offer bullocks upon thine altar.
Et secundum multitudinem miserationum tuarum, dēlē iniquitatem meam.
Amplius lavā me ab iniquitate mea: et a peccato meo mundā me.
Quoniam iniquitatem meam ego cognōscō: et peccatum meum contra me est semper.
Tibi soli peccāvī, et malum coram te fēcī: ut justificeris in sermonibus tuis, et vincās cum judicaris.
Ecce enim in inquitatibus conceptus sum: et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.
Asperges me, Domine, hyssopo, et mundābor: lavābis me, et super nivem dēalbābor.
Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata.
Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele.
Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis.
Ne projicias me a facie tua: et spiritum sanctum tuum ne auferas a me.
Redde mihi laetitiam salutaris tui: et spiritu principali confirma me.
Docebo iniquos vias tuas: et impii ad te convertentur.
Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam.
Domine, labia mea aperies: et os meum annuntiabit laudem tuam.
Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis.
Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies.
Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Jerusalem.
Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.
Translation (King James Bible)
Have mercy upon me, O God, according to thy lovingkindness:
According unto the multitude of thy tender mercies blot out my transgressions.
Wash me throughly from mine iniquity, and cleanse me from my sin.
For I acknowledge my transgressions: and my sin is ever before me.
Against thee, thee only, have I sinned, and done this evil in thy sight: that thou mightest be justified when thou speakest, and be clear when thou judgest.
Behold, I was shapen in iniquity; and in sin did my mother conceive me.
Behold, thou desirest truth in the inward parts: and in the hidden part thou shalt make me to know wisdom.
Purge me with hyssop, and I shall be clean: wash me, and I shall be whiter than snow.
Make me to hear joy and gladness; that the bones which thou hast broken may rejoice.
Hide thy face from my sins, and blot out all mine iniquities.
Create in me a clean heart, O God; and renew a right spirit within me.
Cast me not away from thy presence; and take not thy holy spirit from me.
Restore unto me the joy of thy salvation; and uphold me with thy free spirit.
Then will I teach transgressors thy ways; and sinners shall be converted unto thee.
Deliver me from bloodguiltiness, O God, thou God of my salvation: and my tongue shall sing aloud of thy righteousness.
O Lord, open thou my lips; and my mouth shall shew forth thy praise.
For thou desirest not sacrifice; else would I give it: thou delightest not in burnt offering.
The sacrifices of God are a broken spirit: a broken and a contrite heart, O God, thou wilt not despise.
Do good in thy good pleasure unto Zion: build thou the walls of Jerusalem.
Then shalt thou be pleased with the sacrifices of righteousness, with burnt offering and whole burnt offering: then shall they offer bullocks upon thine altar.
Wikipedia about: 'Miserere mei, Deus' by Gregorio Allegri
Miserere by Gregorio Allegri (also called "Miserere mei, Deus") is a setting of Psalm 51 (50) composed during the reign of Pope Urban VIII, probably during the 1630s, for use in the Sistine Chapel during matins on Wednesday and Friday of Holy Week. It was the last of twelve falsobordone Miserere settings composed and chanted at the service since 1514 and the most popular: at some point, it became forbidden to transcribe the music and it was only allowed to be performed at those particular services, adding to the mystery surrounding it. Writing it down or performing it elsewhere was punishable by excommunication. The setting that escaped from the Vatican is actually a conflation of verses set by Gregorio Allegri around 1638 and Tommaso Bai (1650 - 1718, also spelled "Baj") in 1714.
The Miserere is written for two choirs, one of five and one of four voices. One of the choirs sings a simple version of the original Miserere chant; the other, spatially separated, sings an ornamented "commentary" on this. Many have cited this work as an example of the stile antico or prima pratica. However, its constant use of the dominant seventh chord and its emphasis on polychoral techniques certainly put it out of the range of prima pratica. A more accurate comparison would be to the works of Giovanni Gabrieli.
Although there were a handful of supposed transcriptions in various royal courts in Europe, none of them succeeded in capturing the beauty of the Miserere as performed annually in the Sistine Chapel. According to the popular story (backed up by family letters), the fourteen-year-old Mozart was visiting Rome, when he first heard the piece during the Wednesday service. Later that day, he wrote it down entirely from memory, returning to the Chapel that Friday to make minor corrections. Some time during his travels, he met the British historian Dr Charles Burney, who obtained the piece from him and took it to London, where it was published in 1771. Once published, the ban was lifted and Allegri's Miserere has since become one of the most popular a cappella choral works now performed. The work was also transcribed by Felix Mendelssohn in 1831 and Franz Liszt, and various other 18th and 19th century sources survive.
Mozart was summoned to Rome by the Pope, only instead of excommunicating the boy the Pope showered praises on him for his feat of musical genius.
Burney's edition did not include the ornamentation or "imbellimenti" that made the work famous. The original ornamentations were Renaissance techniques that preceded the composition itself, and it was these techniques that were closely guarded by the Vatican. Few written sources (not even Burney's) showed the ornamentation, and it was this that created the legend of the work's mystery. However, the Roman priest Pietro Alfieri published in 1840 an edition with the intent of preserving the performance practice of the Sistine choir in the Allegri and Bai compositions, including ornamentation.
The piece as it is sung today, with a high treble C, is inauthentic, and is the result of an error in the first edition of Grove's Dictionary of Music of 1880, in an article on ornamentation by the musicologist William Smith Rockstro. In it, he wrote out the first half of the verse twice, but transposed the second half up a fourth (as recorded in Felix Mendelssohn's transription). As a result the bass part leaps from F sharp to C, a progression (known as a tritone) and forbidden by the rules of counterpoint at the time when Allegri was working. Sir Ivor Atkins, then choirmaster of Worcester Cathedral, copied the Rockstro verse from Grove's for his English language edition of 1951, and liked what he heard.
Authentic editions have been produced in the last few years using Alfieri's account of 1840, original Vatican source material and other manuscripts, but most modern listeners know only the garbled 20th century version which remains highly popular with conductors.
The Miserere is one of the most often-recorded examples of late Renaissance music, although it was actually written during the chronological confines of the Baroque era. In this regard it is representative of the music of the Roman School of composers, who were stylistically conservative.
Over the years many visitors to the Vatican during Holy Week have been disappointed if there was not an Allegri Service on their day. The Miserere is regularly performed on Ash Wednesday in English cathedrals.
Arguably the most famous recording of Allegri's Miserere was that made in March 1963 by the all-male Choir of King's College, Cambridge, conducted by Sir David Willcocks, which featured the then-treble Roy Goodman. (This recording of the Miserere was originally part of an LP recording entitled "Evensong for Ash Wednesday"). The Tallis Scholars are an example of a group which uses a female soprano for the high solo.
The Miserere is written for two choirs, one of five and one of four voices. One of the choirs sings a simple version of the original Miserere chant; the other, spatially separated, sings an ornamented "commentary" on this. Many have cited this work as an example of the stile antico or prima pratica. However, its constant use of the dominant seventh chord and its emphasis on polychoral techniques certainly put it out of the range of prima pratica. A more accurate comparison would be to the works of Giovanni Gabrieli.
Although there were a handful of supposed transcriptions in various royal courts in Europe, none of them succeeded in capturing the beauty of the Miserere as performed annually in the Sistine Chapel. According to the popular story (backed up by family letters), the fourteen-year-old Mozart was visiting Rome, when he first heard the piece during the Wednesday service. Later that day, he wrote it down entirely from memory, returning to the Chapel that Friday to make minor corrections. Some time during his travels, he met the British historian Dr Charles Burney, who obtained the piece from him and took it to London, where it was published in 1771. Once published, the ban was lifted and Allegri's Miserere has since become one of the most popular a cappella choral works now performed. The work was also transcribed by Felix Mendelssohn in 1831 and Franz Liszt, and various other 18th and 19th century sources survive.
Mozart was summoned to Rome by the Pope, only instead of excommunicating the boy the Pope showered praises on him for his feat of musical genius.
Burney's edition did not include the ornamentation or "imbellimenti" that made the work famous. The original ornamentations were Renaissance techniques that preceded the composition itself, and it was these techniques that were closely guarded by the Vatican. Few written sources (not even Burney's) showed the ornamentation, and it was this that created the legend of the work's mystery. However, the Roman priest Pietro Alfieri published in 1840 an edition with the intent of preserving the performance practice of the Sistine choir in the Allegri and Bai compositions, including ornamentation.
The piece as it is sung today, with a high treble C, is inauthentic, and is the result of an error in the first edition of Grove's Dictionary of Music of 1880, in an article on ornamentation by the musicologist William Smith Rockstro. In it, he wrote out the first half of the verse twice, but transposed the second half up a fourth (as recorded in Felix Mendelssohn's transription). As a result the bass part leaps from F sharp to C, a progression (known as a tritone) and forbidden by the rules of counterpoint at the time when Allegri was working. Sir Ivor Atkins, then choirmaster of Worcester Cathedral, copied the Rockstro verse from Grove's for his English language edition of 1951, and liked what he heard.
Authentic editions have been produced in the last few years using Alfieri's account of 1840, original Vatican source material and other manuscripts, but most modern listeners know only the garbled 20th century version which remains highly popular with conductors.
The Miserere is one of the most often-recorded examples of late Renaissance music, although it was actually written during the chronological confines of the Baroque era. In this regard it is representative of the music of the Roman School of composers, who were stylistically conservative.
Over the years many visitors to the Vatican during Holy Week have been disappointed if there was not an Allegri Service on their day. The Miserere is regularly performed on Ash Wednesday in English cathedrals.
Arguably the most famous recording of Allegri's Miserere was that made in March 1963 by the all-male Choir of King's College, Cambridge, conducted by Sir David Willcocks, which featured the then-treble Roy Goodman. (This recording of the Miserere was originally part of an LP recording entitled "Evensong for Ash Wednesday"). The Tallis Scholars are an example of a group which uses a female soprano for the high solo.
06/05/2008
04/05/2008
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