Noel Bauldeweyn Videos
franko-flämischer Komponist und Sänger der Renaissance
- klassische Musik
- Belgien
- Komponist
Letzte Aktualisierung
2024-05-20
Aktualisieren
Alamire Urquhart Noel Bauldeweyn 2018
Provided to YouTube by NAXOS of America Missa "Du bon du cueu": I. Kyrie · Capella Alamire Du bon du coeur ℗ 2018 Centaur Records, Inc. Released on: 2018-01-19 Choir: Capella Alamire Conductor: Peter Urquhart Composer: Noel Bauldeweyn Auto-generated by YouTube.
Cor Generalitat Valenciana Reis Bauldeweyn Tomás Luis Victoria 1480 1513 1548 1600 1611 2017
Cor de la Generalitat Valenciana, dirigit per Francesc Perales València, Monestir de Sant Miquel dels Reis, 8 de novembre de 2017 Concert commemoratiu del 30 aniversari de la seua creació "Des de Sogorb fins Oriola", recull de polifonies dels arxius valencians Primera part Juan Pérez (Ginés Pérez) +••.••(...)): Ave maris stella Cinc polifonies del Cançoner de Gandia: / Juan Pérez (Ginés Pérez) +••.••(...)): Laudate, Salmo 116 de 7º tono / Bartolomé Cárceres (s XVI): Falalalán falalalera / Bartolomé Cárceres (s XVI): Elegit sibi Dominus / Bartolomé Cárceres/Alonso (s XVI): Judicii signum (Al jorn del judici) / Noel Valdovin (Bauldeweyn) (ca. 1480-1513): Sancta Maria Tomás Luis de Victoria +••.••(...)): O magnum mysterium Tomás Luis de Victoria +••.••(...)): Super flumina Babylonis
Noel Bauldeweyn Hans Neusidler Tielman Susato Bul Heiden Rovere Paul Hofhaimer 1520 1536 1540 1545 1556
Ach Gott wem sol ichs klagen 0:06 Original Lied for SAATB 1:53 Lute reduction (by Hans Neusidler) played on a spinet. Although the earliest German arrangement published in 1556 has been attributed to the Franco-Flemish composer Noel Bauldeweyn, a lute reduction printed in tablature form by Hans Neusidler in 1536 has been attributed to the Austrian organist Wolfgang Grefinger. A nearly identical contrafactum in French, titled "En douleur en tristesse" also attributed to Bauldeweyn was published in 1545 by Tielman Susato. As a folksong, the melody had probably existed for decades. The original tune is preserved in the Alto 1 and Alto 2 lines which are sung in canon. The text is quasi-religious and has the feel of a psalm text, but as the second set of lyrics (not included in the soundtrack) suggests, it is mostly a lover's lament. The five vocal parts were all created using the MAIKA Spanish language voice bank and the Vocaloid 4 voice encoding program. The instrumental sounds were created using Music Studio 2. Text: Ach Got, wem sol ichs klagen das heimlich Leyden mein, mein Bul ist mir veriaget, bringt meinem herzen pein, sol ich mich von ir scheyden, thut meinem hertzen weh, so schwing ich mich uber die Heiden, du g'sichst mich nimmer mer. Oh God, to whom should I complain [Of] my secret suffering? My blood is drained out of me. It torments my heart Should I divorce her It breaks my heart I flee to the heathlands So you never face me again Photos: 1. Cantus part of "Ach Got, wem sol ichs klagen," Noel Bauldeweyn or Wolfgang Grefinger, Nuremberg, 1556 2. A lady in mourning, 3. Map of Vienna in the around 1540. It was a scene very familiar to Grefinger who was employed by St. Stephen's cathedral as organist. 4. Woman playing lute, detail from the Prodigal Son, Anon. Franco-Flemish, c1550 5. Italian spinet commissioned by Eleanora della Rovere, 1540 6. Organist playing his instrument (possibly Paul Hofhaimer or Wolfgang Grefinger), detail from "Triumph of Maximilian," Hans Burkgmaier, c1526 7. Detail of spinet in #5.
Jean Richafort Josquin Desprez Maistre Mechelen Noel Bauldeweyn Charpentier Claes Divitis Morales Palestrina 1480 1507 1509 1512 1513 1515 1516 1542 1547 1548 1556 2013
Jean Richafort Requiem in Memoriam Josquin Desprez THE KING´S SINGERS Label: Signum (SIGCD326) | Year: 2013 Buy: (http•••) 00:14 Introit: Requiem Aeternam 05:30 Kyrie 09:08 Graduale: Si ambulem 14:19 Offertorium: Domine Jesu Christe 19:58 Sanctus 24:17 Agnus Dei 26:54 Communio: Lux Aeternam JEAN RICHAFORT (c. 1480 – c. 1547) Composer Jean Richafort seems to have been born in the Hainaut province of what is now Belgium. Later on, he took his clerical orders near Liège. By December 1507, he had been named maistre de chant at the collegiate church of St. Rombout, Mechelen. While he was maistre, two of Richafort's brothers, Guillaume and François, were members of the choir. For the next ten years after his departure, sometime around August 21, 1509, when Noel Bauldeweyn stepped in to succeed him, he is somewhat lost to sight. No court records contain his name during that time, but his motet Cosolator captivorum suggests that he'd built some strong ties with the French court by then. The text is an entreaty to St. Louis to use his influence to help strengthen Louis XII's rule. In 1512, supplications were for benefices on behalf of three musicians, one of whom was Richafort. Since the other two, Gilles Charpentier and Jean Nolin, are known to have been in the service of Anne of Britany at the time, it is assumed that Richafort was as well. A dispensation written on January 30, 1516, in Bologna said he received the said benefices. In that document, he is referred to as the "rector of the parish church of Touches in the dioces of Nantes" and as a singer in the chapel of François I. The Pope's visitation to François' court in 1515 - 1516 was a windfall for a number of musicians there, including Richafort, who were granted dispensations that allowed them to hold incompatible benefices. Richafort seems to have been present as a member of the French royal in Rome at the time of Pope Leo's election, in 1513; presumably, it was then that Richafort impressed the Pope with his abilities. Richafort slips below the radar between the years of 1516 - 1542. No available source contains his name until July 1542, at which time he succeeded Jean Claes as the maistre de chapelle at the cathedral of St. Gilles, in Bruges. In 1548, Richafort's position at St. Gilles is taken over by Jean Bart, after which time his name disappears from all records. It's usually assumed that he died in Bruges around that time. Richafort's music shows the very strong influence of Josquin, and he's generally understood as one of those who continued to explore the territory opened up by the great composer. A considerable amount of music survives by him, including chansons in many styles, motets, various sacred works, and three masses. As with Josquin, Richafort's motets are the cornerstone of his achievement that best reveal his studied talents. His most famous piece was probably the motet Quem dicunt homines. It was honored by numerous important composers who chose it as the basis of parody masses. Among these are Divitis, Mouton, Morales, and Palestrina. Two of the masses on Quem dicunt homines, those of Divitis and Mouton, are historically important for being among the very first works to use the full-blown parody techniques that would become important in the sixteenth century. A book of Richafort's motets was published in 1556 presumably after his death, while the rest that survives has been culled from various manuscripts scattered about the continent. (allmusic.com)
Nicht mehr?
Jeden Tag sucht soclassiq nach neuen Artikeln, Videos, Konzerten und so weiter über klassische Musik und Oper, ihre Künstler, Veranstaltungsorte, Orchester....
Noel Bauldeweyn ? Wir haben noch nicht viele Inhalte zu diesem Thema gesammelt, aber wir suchen weiter.
oder
- Zeitleiste: Komponisten (Europa).
- Indizes (in alphabetischer Reihenfolge): B...