Guillaume Dufay, Conditor Alme Siderum, Servir Antico/ Catalina Vicens

Guillaume Dufay, Conditor Alme Siderum, Servir Antico/ Catalina Vicens

Servir Antico www.ensembleservirantico.com Catalina Vicens - organetto and artistic direction Els Janssens-Vanmunster - voice Baptiste Romain - medieval fiddle Felix Stricker - slide trumpet Excerpts of the program me "Mother & Child": Sacred music and texts from the late 14th and early 15th centuries from Austrian and Swiss sources during the reign of the Albertinian line of the Habsburg Dynasty. Guillaume Dufay (c. 1397 - 1474) Conditor Alme Siderum Live performance at Utrecht Early Music Festival 2014 Audio recording by Frans de Wolff for Radio Concertzender Nederland www.concertzender.nl

Blue Heron -- Rite Majorem (Du Fay)

Blue Heron -- Rite Majorem (Du Fay)

Boston's professional Early Music vocal ensemble performs music of Guillaume Du Fay during Festival Mozaic 2008 at Mission San Luis Obispo

Aragonese Court of Naples : Dufay - Par le regart

Aragonese Court of Naples : Dufay - Par le regart

Florilegio Ensemble, Marcello Serafini, dir. O tempo bono - Music at the Aragonese Court of Naples. Works from Ms. Montecassino 871, compiled c.1480. Par le regart de vos beaulx yeux, et votre maintien bel et gent, A vous, belle, viens humblement moy presenter vostre amoroux. De vostre amour suis desirex E mon vouloir tout s'i consent. Par le regart.. O vous plaise, cueur grcieux, Me retenir or a present pour vostre amy entierment Et je seray vostre en tous lieux. Par le regart.. ---------------------------------------------- For the look in your beautiful eyes, And your lovely and kind manner, I humbly corne to you, my beauty, To offer myself as your lover. I am desirous of your love And my desire is whole. For the look... Now may it please you, kind heart To accept me here and now Completely as your friend And I will be yours wherever I am. For the look... Anita Camarella (voice), Maria Consigli (voice), Antonio Serafini (lute, bagpipe), Albert Crugnola (lute, hurdy-gurdy, voice), Marcello Serafini (vielle, rebec, guitar, voice), Isacco Colombo (shawms, recorders, pipe & tabor, tamorra), Alberto Ponchio (bombarde), Daniele Bicego (slide trumpet)

San Lorenzo slideshow c Dufay 1

San Lorenzo slideshow c Dufay 1

For a classroom presentation (as a student in a language class).

Indiana Jones & the Mandela Effect!

Indiana Jones & the Mandela Effect!

Picture Slide at Yah, publication #776. These 2 movies from the Indiana Jones series are excellent examples of Earth time and size variations! Thank You for Watching! Sincerely, Dale DuFay, Terra’s of the Milky Way! Much Love!

Guillaume Dufay - Salve flos Tuscae gentis

Guillaume Dufay - Salve flos Tuscae gentis

Guillaume Dufay (c. 1397-1474) Quadrivium SALVE FLOS TUSCAE GENTIS: TRIPLUM Salve flos Tuscae gentis, Florentia, salve, O salve Italici Gloria magna soli. Salve quae doctos felix Tot mater alumnos, Tot generas magnos consilio Atque fide, Quae tot praestantes mira Integritudine gignis, Quae tot generas Religione viros. Salve,cui debet quodcumque Est artis honestae, Ingenii quicquid quicquid Et eloquii est. Salve,quae fama totum Diffuse per orbem Et vehis et natos mittis Ad astra tuos. Nunc cecini et gratis Voces placuere canore, Praemia, mercedes Nec petiere simul. Fessus ego haud cantu, Vos en defessi canendo, Sed tu carminibus viva Canenda meis. MOTETUS Vos nunc Etruscorum iubar, Salvete puellae. Sic sedet hoc animo Nec sine amore moror. Stant forribus Nymphis similes, Stant Najades utque Aut ut Amazonides Aut procidiva Venus. Fervet in amplexus atque Oscula dulcia quisque; Si semel has viderit Captus amore cadet. lsta deae mundi, Vester per saecula cuncta Guillermus cecini natus Et ipse Fay. TENOR Viri mendaces. CREDITS: Cantica Symphonia directed by Giuseppe Maletto Alena Dantcheva, soprano & harp (AD & ad) Laura Fabris, soprano (LF) Maria Teresa Nesci, soprano (TN) Gianluca Ferrarini, tenor & organ (GF & gf) Fabio Furnari, tenor (FF) Giuseppe Maletto, tenor (GM) Marco Scavazza, baritone (MS) Guido Magnano, organ (gm) Marta Graziolino, harp (mg) Svetlana Fomina, fiddle (sf) Efix Puleo, fiddle (ep) Mauro Morini, slide trumpet & sackbut (mmt & mms) David Yacus, sackbut (dy) with: Sveva Martin, soprano (SM) Livio Cavallo, tenor (LC) Margret Koll, harp (mk) Davide Rebuffa, lute (dr). All rights reserved to the respectful artists and producers. No copyright infringement intended.

Heinrich Ignaz Franz Biber - Sonata Representativa in A major

Heinrich Ignaz Franz Biber - Sonata Representativa in A major

- Composer: Heinrich Ignaz Franz Biber von Bibern (12 August 1644 (baptised) -- 3 May 1704) - Performers: "Il Giardino Armonico": Enrico Onofri (Violin), Vittorio Ghielmi (Viola da Gamba), Luca Pianca (Archlute and Narrator), Michele Barchi (Gravicembalo), Riccardo Doni (Organ) - Conductor: Giovanni Antonini - Year of recording: 1998 Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184), written in 1669. 00:00 - I. Allegro 01:52 - II. Nachtigal (Nightingale) 03:15 - III. CuCu (Cuckoo) 03:56 - IV. Fresch (Frog) 05:06 - V. Die Henn & Der Hann (Cock & Hen) 05:41 - VI. Die Wachtel (Quail) 06:25 - VII. Die Katz (Cat) 06:50 - VIII. Musqetir Mars (Musketeer’s March) 08:05 - IX. Allemande Sometime in the middle of the 1660s, Heinrich Biber entered the service of Count Karl von Liechtenstein-Kastelkorn, who established his residence in the city of Kromeriz in Moravia and maintained an orchestra for performances in his castle. Between the beginning of his tenure at Kromeriz and his departure for Salzburg in 1670 against the Count's wishes, Biber composed a great number of instrumental works, the manuscripts of which are still housed at the Kromeriz Castle. Count Karl had a predilection for programmatic music and this was surely the impetus behind's Biber's composition of the Sonata representativa, for violin and continuo in A major. Biber's Sonata representativa is not programmatic in the nineteenth century sense, rather, the sonata "represents" the sounds of several animals. Biber took these imitative passages directly from the Musurgia Universalis, written by the musicologist Athanasius Kircher. Kircher was the first to develop a "Doctrine of Affections," which directly related psychological states to various musical devices and expressions. In Musurgia Universalis, Kircher attempted to transcribe in musical notation the sounds of animals. Biber's sonata is for solo violin with continuo, often realized with a theorbo, harpsichord, or organ, or a combination of these. Each movement runs into the next without pause. - Biber opens his Sonata representativa with a not-so-programmatic Allegro that is in AB form with a slow introduction. A dotted figure in the opening melody becomes increasingly prominent at the climax of the movement. - The "Nachtigal" movement begins with an extended, cadenza-like segment for violin alone in which the instrument imitates a nightingale through falling thirds and trills. - In "CuCu" we hear the familiar sound of the cuckoo played beneath a rapid tremolo on the violin. This high-energy movement lasts only about half a minute before moving into... - the next section, "Fresch" (Frog), in which Biber conveys the croaking of a frog by writing harmonic seconds and out-of-tune glissandos mixed with some tuneless scraping of the strings. A lyric slow passage closes the movement. - "Die Henn und der Hann" (The Cock and Hen) is a very fast, brief movement also featuring glissandos and clashing semitones. - "Die Wachtel" (Quail) provides contrast with its slow tempo and pp dynamic as it presents a reiterated dotted figure. - "Die Katz" (Cat) has a rising tune, the last note of which slides downward, evoking a cat's "meow." - The eighth movement, "Musqetir Mars" (Musketeer's March) also appears in Biber's later Battalia (1673), although somewhat altered and with the title, "Der Mars." Its drone accompaniment and percussive interjections, supporting rapid violin figurations, set it apart from the rest of the sonata. - Biber closes the sonata with a slow Allemande, in ternary form, and devoid of imitative noises.

Guillaume Dufay: Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae (c.1454)

Guillaume Dufay: Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae (c.1454)

PROGRAM NOTES: Guillaume Dufay's "Lamentation for the mother church of Constantinople" is one of the few works by a famous composer that commemorated the Fall of the Byzantine capital of Constantinople to the Ottomans in 1453. Although the Catholic See in Rome had maintained for centuries a deeply contentious relationship with the Eastern Roman Church in Constantinople, the fall of the Byzantine capitol came as a shock to Europeans who had heard about it. They saw Constantinople as the last vestige of a mythologized Roman Empire that had all but faded from Western memory by the late Middle Ages. This short, but magnificent song is a secular motet in the late French Medieval style with the Requiem (from the Latin liturgy) in the tenor line. There is some debate regarding the venue for this work. Some have speculated that it was used for the occasion of the grandiose "Banquet of the Pheasant" ordered by Phillip the Good, Duke of Burgundy, one year after the Fall. Using computer generated sounds, I am presenting two different versions of this piece. The first is a somewhat more intimate, acapella version for 4 solo voices that might have been appropriate for a small, private chamber. The second version (at time stamp 4:21 ) is a performance that one might have heard at a grand festival fit for kings where there may have been large, noisy crowds. In the second scenario, one might have heard louder instruments (such as slide trumpets and other brass instruments) accompanying a chorus that had more than one singer per part. This version, I believe, has a clearer sound than the original that I uploaded some time ago. I removed the boy soprano voice in the cantus line and replaced it with a countertenor. I think this makes for a more balanced sound with the rest of the chorus. I also added a few extra phonemes to the American English dictionary in Vocaloid to improve the pronunciation of Late Middle French. ++++++++++ French & Latin text: O très piteux de tout espoir, fontaine, Père du fils dont suis mère éplorée, Plaindre me viens à ta cour souveraine De ta puissance et de nature humaine Qui ont souffert, telle dure vilaine, Faire à mon fils qui tant m’a honorée, Dont suis de bien et de joie séparée, Sans qui vivant veuille entendre mes plaintes. À toi, seul dieu, du forfait me complains Du gref tourment et douloureux outrage Que voit souffrir plus bel des humains Sans nul confort de tout humain lignage. Tenor: Omnes amici ejus spreverunt eam Non est qui consoletur eam Ex omnibus caris ejus. English translation (from cpdl.org): Most merciful source of all hope, Father of the son whose weeping mother I am, I come to complain at your sovereign court Of your authority and of human nature, Which have allowed such harsh cruelty To be inflicted on my son, who has so honoured me; Whereby I have been parted from happiness and joy, Without any living being who will hear my complaints. To you, only God, I appeal from the sentence, From the grievous torment and painful injury That I watch the fairest of men suffer, With no consolation from your human speech. Tenor: All her friends have betrayed her: Among all her lovers there is none to comfort her. ++++++++++ Description of the photos in the order of appearance: 1. Siege of Constantinople, Anon.French, BnF ms Fr9087, c1455 2. Siege of Constantinople, Anon. Venetian, c1490 3. Marian mosaic with Emperor Constantine presenting the city, Hagia Sophia 4. Siege of Constantinople, Anon.French, BnF ms Fr2691, c1470 5. JHS (Greco-Roman abbreviation for Jesus), Andreas Ritsos, c1480 6. City view of Constantinople, Michael Wohlgemut, c1493 7. Constantinople in the 15th century with a view of the Church 8. Byzantine walls of Constantinople in the current century 9. Rampart ruins of Constantinople 10. Duke Phillip the Good, Anon. Burgundian, c1450 11. Garden of Love (wedding scene of Phillip the Good and Isabella of Portugal), c1432, 16th c copy 12. Narcissus (detail of pheasant), Anon.French tapestry c1500 13. Julius Caesar entering Rome, Anon.French tapestry, c1460. Note trumpets in the background 14. King Ahasuerus at banquet, Anon. French tapestry, 15th c 15. Jean Miélot presenting a history book to Phillip the Good, Jean le Tavernier (?), 1457 16. Coronation of the Virgin (details), Master of the Lyversberg Passion, c1463. 17. Phillip the Good in the royal bedchamber (detail from miniature), Rogier van der Weiden, c1447 18. Guillaume Dufay & Gilles de Binchois, Le Champion des Dames, Martin Le Franc, c1440

Music Of The Gothic Era :: The Early Music Consort Of London :: David Munrow

Music Of The Gothic Era :: The Early Music Consort Of London :: David Munrow

Slowing down with David Munrow and "The Early Music Consort Of London" (and Christopher Hogwood playing the harp ! ) ---- Subscribe to this channel: https://www.youtube.com/channel/UCul8BAaAR4q2NZAVxsCrzFA?sub_confirmation=1 ---- All videos according to YouTubes ID and Copyright Claims --- + 2 hours of music of a really long time ago... Label: Archiv Produktion ‎– 2723 045 Format: 3 × Vinyl, LP Box Set Released: 1976 Notre Dame Period Organa 2 Vocum A1 Viderunt Omnes – Leonin* A2 Alleluya Pascha Nostrum – Leonin* A3 Gaude Maria Virgo – Leonin* Organa 4 Vocum B1 Viderunt Omnes– Perotin* B2 Sederunt Principes – Perotin* Ars Antiqua Motetti C1 Alle, Psallite Cum Luya, 3 Voc. – Anonymus* C2 Amor Potest, 3 Voc. Anonymus* C3 S'On Me Regarde, 3 Voc. – Anonymus* C4 In Mari Miserie, 3 Voc. – Anonymus* C5 On Parole De Batre, 3 Voc. – Anonymus* C6 En Mai, Quant Rosier Sont Flouri, 3 Voc. – Anonymus* C7 Dominator Domine, 3 Voc. – Anonymus* C8 El Mois De Mai, 3 Voc. – Anonymus* C9 O Mitissima, 3 Voc. – Anonymus* C10 Hoquetus I-VII, 3 Voc.: Neuma · Virgo · In Seculum Longum · In Seculum Viellatoris · In Seculum Breve · In Seculum D'Amiens Longum · In Seculum – Anonymus* D1 Aucun Ont Trouvé, 3 Voc. – Petrus de Cruce D2 De Ma Dame Vient, 3 Voc, – Adam de la Halle* D3 J'Os Bien A M'Amie Parler, 3 Voc. – Adam de la Halle* D4 La Mesnie Fauveline, 3 Voc.– Anonymus* Ars Nova Motetti D5 Quant Je Le Voi, 3 Voc. – Anonymus* D6 Zelus Familie, 3 Voc. – Anonymus* D7 Quasi Non Ministerium, 3 Voc.– Anonymus* D8 Impudenter Circumivi, 3 Voc.– Philippe de Vitry D9 Cum Statua, 3 Voc. – Philippe de Vitry E1 Pantheon Abluitur, 5 Voc. – Bernard de Cluny E2 Clap, Clap, Par Un Matin, 3 Voc. – Anonymus* E3 Ida Capillorum, 3 Voc.– Henri Gilles de Pusiex E4 Rachel Plorat Filios, 3 Voc. – Henri Gilles de Pusiex E5 Lés L'Ormel A La Turelle, 3 Voc.– Anonymus* E6 O Philippe, Franci Qui Generis, 3 Voc.– Anonymus* E7 Febus Mundo Oriens, 3 Voc. – Anonymus F1 Lasse! Comment Oublieray, 3 Voc. – Guillaume de Machaut F2 Qui Est Promesses, 3 Voc. – Guillaume de Machaut F3 Hoquetus David, 3 Voc. – Guillaume de Machaut F4 Christe, Qui Lux Es, 4 Voc. – Guillaume de Machaut F5 Degentis Vita, 4 Voc. – Anonymus* F6 Inter Densas Deserti Meditans, 3 Voc. – Anonymus* F7 Rex Karole, Johannis Genite, 5 Voc. – Philippe Royllart Credits Art Direction – Elke Neuss-Burghoff* Bass Vocals – Geoffrey Shaw Bells, Organ [Portative Organ], Percussion [Nakers, Tabor] – David Corkhill Bells, Psaltery – Gillian Reid (2) Conductor, Liner Notes – David Munrow Cornett – Iaan Wilson Cornett [Tenor], Trumpet [Slide Trumpet] – Alan Lumsden Countertenor Vocals – Charles Brett, David James (13), James Bowman (2) Design – Alexander Gnirke Engineer [Recording] – Hans-Peter Schweigmann, Klaus Hiemann Ensemble – The Early Music Consort Of London Fiddle – Oliver Brookes Liner Notes – Michael Freeman (3) Liner Notes [Editing] – Dr. Barbara Schwendowius*, Dr. Andreas Holschneider Liner Notes [Französisch-deutsche Übersetzung] – Dr. Dieter Beyerle Liner Notes [French-english / French Glossary] – Dr. Michael Freeman* Liner Notes [Lateinisch-deutsche Übersetzung] – Dr. Hans Heimler Liner Notes [Latin-english Translation] – Dr. Hans Heimler Liner Notes [Traduction Latin-français] – Daniel Henry Lute, Cittern [Mandora] – James Tyler Organ [Portative Organ], Harp – Christopher Hogwood Photography By – Mike Evans* Producer – Dr. Andreas Holschneider Rebec – Nigel North Rebec, Fiddle – Eleanor Sloan Recorder [Soprano, Alto, Tenor], Shawm [Alto, Tenor], Reeds [Tenor Cornemuse] – David Munrow Recording Supervisor – Dr. Gerd Ploebsch Tenor Vocals – John Potter (2), John Nixon*, Martyn Hill, Paul Elliott, Rogers Covey-Crump Notes Recorded Godalming/Surrey, Chapel, Charter House, 4-5.4.1975 and London, Conway Hall, 22-30.10.1975 Editions: W.G.Waite, The Rhythm of XIIth Century Polyphony, New Haven 1954 The Works of Perotin, ed. E. Thurston, New York 1970 CODEX MONTPELLIER. Polyphonies du XIIIe siècle, le Manuscrit H 196 de la Faculté de Médecine de Montpellier, publié par Yvonne Rockseth, Paris 1936 CODEX BAMBERG. Cent Motets du XIIIe siècle, publiés d'après le Manuscrit ED. IV.6 de Bamberg par Pierre Aubry, Paris 1908 The Lyric Works of Adam de la Halle, ed. N. Wilkins, Corpus Mensurabilis Musicae, vol. 4, Dallas 1967 ROMAN DE FAUVEL. Polyphonic Music of the 14th Century, vol. I, ed. L. Schrade, Monaco 1956 CODEX IVREA. Polyphonic Music of the 14th Century, vol. VI, ed. F. Ll. Harrison, Monaco 1968 The Works of Guillaume de Machaut. Polyphonic Music of the 14th Century, vols. I/III, ed. L. Schrade, Monaco 1956 CODEX CHANTILLY. Polyphonic Music of the 14th Century, vol. V, ed. F. Ll. Harrison, Monaco 1968 Information from: Discogs.com

Lesson: Accompanying Gregorian Chant in Mode 3; Ideas and Patterns

Lesson: Accompanying Gregorian Chant in Mode 3; Ideas and Patterns

5th video in my series on accompanying Gregorian Chant. Here, we explore the accompaniment of Mode 3, which is particularly modal and difficult at times. Subscribe for more!

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