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November 23 2011

02mydafsoup-01

Händel's Ode for the Saint Cecilia's Day, 1739
- poetry: John Dryden - Song for the Saint Cecilia's Day 1687
  

Overture, recitativo accompagnato & chorus

From harmony, from Heav’nly harmony
          This universal frame began.
     When Nature underneath a heap
          Of jarring atoms lay,
     And could not heave her head,
The tuneful voice was heard from high,
          Arise ye more than dead.
Then cold, and hot, and moist, and dry,
     In order to their stations leap,
          And music’s pow’r obey.
From harmony, from Heav’nly harmony
          This universal frame began:
          From harmony to harmony
Through all the compass of the notes it ran,
     The diapason closing full in man.

[...]

whole poem with detailed explanations: DRYDEN AND HANDEL

Youtube Playlist (~1h 30 min, not embeddable) with excerpts, readings and short commentaries

- Henry Purcell: Hail, bright Cecilia (text based on Dryden)
- G.F. Händel: Ode for the Saint Cecilia's Day (text by Dryden)
- Joseph Haydn: Missa Cellensis (Cäcilienmesse)




SAINT CECILIA - 1618 - DOMENICHINO (1581-1641)
MUSÉE DU LOUVRE, PARIS


Saint cecilia

St. Cecilia's Day - 22nd of November
- Catholic Encyclopedia
- Wikipedia
Reposted bysiriusminerva siriusminerva

November 19 2011

02mydafsoup-01
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J. H. Schmelzer-Sonata III in G minor

Uploaded by evoimeneovde on Jul 24, 2010

// Johann Heinrich Schmelzer (c.1620--23 -- between 29 February and 20 March 1680) was an Austrian composer and violinist of the Baroque era. Almost nothing is known about his early years, but he seems to have arrived in Vienna during the 1630s, and remained composer and musician at the Habsburg court for the rest of his life. He enjoyed a close relationship with Emperor Leopold I, was ennobled by him, and rose to the rank of Kapellmeister in 1679. He died during a plague epidemic only months after getting the position.

Schmelzer was one the most important violinists of the period, and an important influence on later German and Austrian composers for violin. He made substantial contributions to the development of violin technique and promoted the use and development of sonata and suite forms in Austria and South Germany. He was the leading Austrian composer of his generation, and an influence on Heinrich Ignaz Biber.
Schmelzer was born in Scheibbs, Lower Austria. Nothing is known about his early years, and most of the surviving information about his background was recounted by the composer himself in his petition for ennoblement of 1673. He described his father as a soldier, but in another document, the 1645 marriage certificate of Schmelzer's sister Eva Rosina, he is listed as a baker. Schmelzer does not mention his father's name, but Eva Rosina's marriage certificate does: Daniel Schmelzer. At any rate, it remains unclear where and from whom Schmelzer received primary music education. His activities before 1643 are similarly unknown--the composer is first mentioned in a document dated 28 June 1643, relating to his first marriage. He is referred to as a cornettist at St. Stephen's Cathedral (Stephansdom), Vienna. The date of his arrival to Vienna is unknown, but he probably worked at the court chapel in late 1630s, in the employ of Ferdinand II and, after 1637, Ferdinand III. Schmelzer's colleagues at the chapel included such distinguished composers as Johann Jakob Froberger, Giovanni Valentini, and Antonio Bertali.

Schmelzer was officially appointed court violinist in 1649. Our knowledge of his position, duties, and activities is incomplete. He apparently rose to prominence as a violin virtuoso, as well as a composer, and enjoyed a close relationship with Emperor Leopold I, who was a well-known patron of the arts and a composer himself. Schmelzer started publishing his music in 1659. He was appointed vice-Kapellmeister on 13 April 1671. On 14 June 1673, after the composer petitioned for ennoblement, the Emperor raised Schmelzer to the ranks of nobility; Schmelzer now added von Ehrenruef to his name. Eventually, after his predecessor Giovanni Felice Sances had died, Schmelzer became Kapellmeister, on 1 October 1679. Unfortunately, he fell victim of the plague early in 1680, and died in Prague, where the Viennese court moved in an attempt to evade the epidemic.
Schmelzer attained a high reputation in a field (violin playing and violin composition) which at the time was dominated by Italians; indeed, one traveler referred to him in 1660 as "nearly the most eminent violinist in all of Europe". Schmelzer's Sonatae unarum fidium of 1664 was the first collection of sonatas for violin and basso continuo to be published by a German-speaking composer. It contains the brilliant virtuosity, sectional structure, and lengthy ground-bass variations typical of the mid-baroque violin sonata.

Schmelzer was the foremost Austrian composer of instrumental music of his day, and had an important influence on the Austrian violinist and composer Heinrich Ignaz Franz Biber (1644-1704), who is believed to have been one of Schmelzer's students.


http://en.wikipedia.org/wiki/Johann_Heinrich_Schmelzer //



quote from the text to the video

-----------------------------------------------

there are no indications concerning the interprets - IMO it should be Music of the Spheres - read here more about the ensemble via https://magnatune.com/artists/spheres (the linked recordings have in the online version spoken adds during and between the diverse music pieces & movements).



November 16 2011

02mydafsoup-01
Renaissance Dance Music by Michael Praetorius (1571-1621) form Terpsichore

youtube playlist (~20 Min)

---------------------------


Terpsichore - Muse
Wikipedia: https://secure.wikimedia.org/wikipedia/en/wiki/Terpsichore

// ..."delight of dancing" was one of the nine Muses, ruling over dance and the dramatic chorus. She lends her name to the word "terpsichorean" which means "of or relating to dance". She is usually depicted sitting down, holding a lyre, accompanying the dancers' choirs with her music. She is sometimes said to be the mother of the Sirens by Achelous. Her name comes from the Greek words τέρπω ("delight") and χoρός ("dance").

[...] //

November 14 2011

02mydafsoup-01
Alessandro Scarlatti (1660-1725) & Francesco Durante (1684-1755)

2 Concerti (F. Durante) and 1 Motet (A. Scarlatti - Lauda Jerusalem - Psalm 147 [paraphrase])
youtube playlist (~30 min)

November 11 2011

02mydafsoup-01
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Marin Marais (1656-1728) - Sonnerie de Ste. Genevieve du Mont de Paris (1723) - 

Uploaded by theprof1958 on Dec 25, 2009

Ralph Rousseau Meulenbroeks, viola da gamba (in the picture)
Pieter Jan Belder, clavicembalo
Rémy Baudet, violino

more from the same cellist
http://magnatune.com/artists/albums/meulenbroeks-marais/

------------------------------------------------

http://en.wikipedia.org/wiki/Marin_Marais

Marin Marais (31 May 1656, Paris -- 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for 6 months. He was hired as a musician in 1676 to the royal court of Versailles. He did quite well as court musician, and in 1679 was appointed "ordinaire de la chambre du roy pour la viole", a title he kept until 1725.


He was a master of the basse de viol, and the leading French composer of music for the instrument. He wrote five books of Pièces de viole (1686-1725) for the instrument, generally suites with basso continuo. These were quite popular in the court, and for these he was remembered in later years as he who "founded and firmly established the empire of the viol" (Hubert Le Blanc, 1740). His other works include a book of Pièces en trio (1692) and four operas (1693-1709), Alcyone (1706) being noted for its tempest scene.

Titon du Tillet included Marais in Le Parnasse françois, making the following comments on two of his pieces:
" A piece from his fourth book entitled The Labyrinth, which passes through various keys, strikes various dissonances and notes the uncertainty of a man caught in a labyrinth through serious and then quick passages; he comes out of it happily and finishes with a gracious and natural chaconne. But he surprised musical connoisseurs even more successfully with his pieces called La Gamme [The Scale], which is a piece de symphonie that imperceptibly ascends the steps of the octave; one then descends, thereby going through harmonious songs and melodious tones, the various sounds of music. "

As with Sainte-Colombe, little of Marin Marais' personal life is known after he reached adulthood. Marin Marais married a Parisian, Catherine d'Amicourt, on September 21, 1676. They had 19 children together.

Facsimiles of all five books of Marais' Pièces de viole are published by Éditions J.M. Fuzeau. A complete critical edition of his instrumental works in seven volumes, edited by John Hsu, is published by Broude Brothers. Marais is credited with being one of the earliest composers of program music.[1] His work The Gallbladder Operation, for viola da gamba and harpsichord, includes composer's annotations such as "The patient is bound with silken cords" and "He screameth."[1]





November 09 2011

02mydafsoup-01
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Joseph Haydn: Fantasie C-dur Hob. XVII, 4 (1789) - ( 5:30 min)
piano: Balázs Szokolay

Hochgeladen von szokolaybalazs am 14.08.2009

piano score / Klarviernoten (pdf), here.



November 07 2011

02mydafsoup-01
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Passacaglia by Alessandro Piccinini 1566-1638

yt-video uploaded by BaroqueMusicOnly on Dec 21, 2010

// Alessandro Piccinini (December 30, 1566 -- ca. 1638), was an Italian lutenist and composer.

Piccinini was born in Bologna into a musical family: his father Leonardo Maria Piccinini taught lute playing to Alessandro as well as his brothers Girolamo (d. 1615) and Filippo (d. 1648). He held appointments at the Este court in Ferrara (from 1582 to 1597) and with Cardinal Pietro Aldobrandini, papal legate at Bologna and Ferrara. Piccinini died around 1638, probably in Bologna.

He is best known for his two volumes of lute music: Intavolatura di Liuto et di Chitarrone, libro primo (Bologna, 1623) and Intavolaturo di Liuto (Bologna, 1639), the latter published posthumusly by his son Leonardo Maria Piccinini. The 1623 collection is of particular importance because of Piccinini's lengthy preface, which includes a detailed manual on performance, as well as claims to have invented the archlute (Piccinini also made important modifications to the chitarrone). Piccinini concentrated on toccatas, courantes and galliards, as well as different kinds of variations. No other works by Piccinini are known; his music for La selva sin amor, the first opera performed in Spain, composed by his brother Filippo Piccinini is lost.

Passacaglias for lute have been composed by figures such as Alessandro Piccinini, G. H. Kapsberger, Sylvius Leopold Weiss, Esaias Reusner, Count Logy, Robert de Visée, Jacob Bittner, Philipp Franz Lesage De Richee, Gleitsmann, Dufaut, Gallot, Denis Gaultier, Ennemond Gaultier, and Roman Turovsky-Savchuk, a passacaglia for bandura by Julian Kytasty, and for baroque guitar by Paulo Galvão, Santiago de Murcia, Francisco Guerau, Gaspar Sanz, and Marcello Vitale. //

quote from the yt-video text

November 05 2011

Music - November 2011 - compilation started 2011-11-02 | latest actualization: 2011-11-26 | offene Ablage: nothing to hide

For the selected pieces of music, please, go by the given link in the entry title, to the postings by oAnth at soup.io ;

Compositions of following composers have been posted up to now:

William Byrd, Orlando Gibbons, Michael Praetorius, Alessandro Piccinini, Johann Heinrich Schmelzer, Marin Marais, Henry Purcell, Alessandro Scarlatti, Georg Friedrich Händel, Francesco Durante, Joseph Haydn, Wolfgang Amadeus Mozart; - list closed by 26th of November 2011


-----------------------------------------------------------------------

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THE PAINTING - "November"

Artist: Sandrart, Joachim von (1606-1688)

https://secure.wikimedia.org/wikipedia/en/wiki/Joachim_von_Sandrart

 

Title: Months Series "November"
Location: Staatsgalerie im Neuen Schloss, Bayerische Staatsgemaeldesammlungen
City: Schleissheim
Country: Germany
Period/Style: Seventeenth Century
Note: Canvas, 149 x 123.5 cm. Inv.: 366

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See it on Scoo p.it, via oAnth-miscellaneous

Reposted from02mysoup-aa 02mysoup-aa

November 03 2011

02mydafsoup-01
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William Byrd - Laudibus in Sanctis
Uploaded by LaVerdiana on Oct 24, 2009

performend by Stile Antico

cf. a version from Laudibus in Sanctis with displayed score, here.

---------------------------------------------------



1 Laudibus in sanctis Dominum celebrate supremum: Firmamenta sonent inclita facta Dei.
2 Inclita facta Dei cantate, sacraque potentis Voce potestatem saepe sonate manus.

3 Magnificum Domini cantet tuba martia nomen: Pieria domino concelebrate lira.
4 Laude Dei resonent resonantia tympana summi: Alta sacri resonent organa laude Dei.

Hunc arguta canant tenui psalteria corda, Hunc agili laudet laeta chorea pede.
5 Concava divinas effundant cymbala laudes, Cymbala dulcisona laude repleta Dei.
6 Omne quod aethereis in mundo vescitur auris Halleluia canat tempus in omne Deo.
- - - -
1 Celebrate the Lord most high in holy praises: Let the firmament echo the glorious deeds of God.
2 Sing ye the glorious deeds of God, and with holy voice Sound forth oft the power of his mighty hand.:

3 Let the warlike trumpet sing the great name of the Lord: Celebrate the Lord with Pierian lyre.
4 Let resounding timbrels ring to the praise of the most-high God, Lofty organs peal to the praise of the holy God.:

Him let melodious psalteries sing with fine string, Him let joyful dance praise with nimble foot.
5 Let hollow cymbals pour forth divine praises, Sweet-sounding cymbals filled with the praise of God.
6 Let everything in the world that feeds upon the air of heaven Sing Halleluia to God for evermore.

August 13 2011

02mydafsoup-01
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Wolfgang Amadeus Mozart - " 6 Notturni " | 1786 

yt-permalink
yt-account: Phebus74

The six Notturni, were published in 1803 under the name of Gottfried von Jacquin, a friend of Mozart’s. It was not until 1933 that they were restored to their rightful composer!

-"Due pupille amabili" KV 439 (?Pietro Metastasio)
-"Se lontan,ben mio,tu sei" KV 438 (Pietro Metastasio)
-"Ecco quel fiero istante" KV 436 (Pietro Metastasio)
-"Mi lagnerò tacendo" KV 437 (Pietro Metastasio)
-"Luci care,luci belle" KV 346/439a (Pietro Metastasio)
-"Più non si trovano" KV 549 (Pietro Metastasio)
Elly Ameling,soprano
Elisabeth Cooymans,soprano
Peter Van der Bilt,baritono

Dipinto di Ludovico Carracci

Links to scores to download and to the original Italian texts with translations in several languages you will find via
http://www.pearltrees.com/02myprltr01/notturni-kv-436-02mywamozart01/id3226453


April 12 2011

02mydafsoup-01
Youtube Permalink
yt-account: iforgeti

from Handel's Sacred Drama or Oratorio Jephta


"In honour of Stuart Burrows' () here is his moving rendition of "Deeper, and deeper still....Waft her, angels.." from Handel's Jephtha (available on the Decca label)." rec ~1960ies

(the piano part is not mentioned)

----------------------------------------------------------------------


ACT TWO

 
[...]

Scene 4

[...]

47. Accompagnato Jephtha
Deeper, and deeper still, thy goodness, child,
Pierceth a father's bleeding heart, and checks
The cruel sentence on my falt'ring tongue.
Oh, let me whisper it to the raging winds,
Or howling deserts; for the ears of men
It is too shocking. Yet have I not vow'd?
And can I think the great Jehovah sleeps,
Like Chemosh and such fabled deities?
Ah no; Heav'n heard my thoughts, and wrote them down;
It must be so. 'Tis this that racks my brain,
And pours into my breast a thousand pangs
That lash me into madness. Horrid thought!
My only daughter, so dear a child,
Doom'd by a father! Yes, the vow is past,
And Gilead hath triumph'd o'er his foes.
Therefore, tomorrow's dawn... I can no more.

[...]

ACT THREE

 

Scene 1

Jephtha, Iphis, Priests and Chorus.


[...]


50. Air Jephtha
Waft her, angels, through the skies,
Far above yon azure plain,
Glorious there, like you, to rise,
There, like you, for ever reign.
Waft her. . . da capo

[...]


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complete libretto from Handel's Sacred Drama or Oratorio Jephta






March 31 2011

02mydafsoup-01
Play fullscreen
YouTube - permalink

yt-account Trinitrotolaissance

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"The lord of salisbury his pavan and galliard - Composed by: Orlando Gibbons (1583-1625)"

Played by: Timothy Roberts

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