William Byrd Vidéos
compositeur britannique
1
- orgue
- musique classique
- Royaume-Uni, royaume d'Angleterre
- compositeur ou compositrice, organiste
streaming
Dernière mise à jour
2024-05-13
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William Byrd Fraser Ventris Miro Lege Laus Supper
William Byrd: Pange lingua The Cardinall's Musick Andrew Carwood - David Skinner Score: www.cpdl.org (David Fraser) Pange lingua gloriosi corporis mysterium sanguinisque pretiosi, quem in mundi pretium fructus ventris generosi Rex effudit Gentium. Nobis datus, nobis natus ex intacta virgine et in mundo conversatus, sparso verbi semine, sui moras incolatus miro clausit ordine. In supremae nocte cenae recumbens cum fratribus observata lege plene cibis in legalibus, cibum turbae duodenae se dat suis manibus. Verbum caro, panem verum verbo carnem efficit: fitque sanguis Christi merum, et si sensus deficit, ad firmandum cor sincerum sola fides sufficit. Tantum ergo sacramentum veneremur cernui, et antiquum documentum novo cedat ritui; praestet fides supplementum sensuum defectui. Genitori Genitoque laus et iubilatio, salus, honor, virtus quoque sit et benedictio; procedenti ab utroque compar sit laudatio. Amen. / ENGLISH / Sing, my tongue, The mystery of the glorious body, And of the precious Blood That for the world’s salvation The fruit of a noble womb, The king of the nations, shed. Given to us, born to us, From an unblemished virgin, And having lived in the world, Scattering the seed of the Word, The time of his habitation Miraculously He closed in due order. In the night of His last supper, Resting with His brothers, The law being fully observed With permitted foods, To the group of twelve He gave Himself as food with his own hands. The Word in flesh true bread By a word makes His flesh, And also makes true wine the Blood of Christ, And if sense is lacking, To confirm a true heart Faith alone suffices. Therefore so great a Sacrament Let us fall down and worship, And let the old law Give way to a new rite, And let faith stand forward To make good the defects of sense. To the Father and the Son Be praise and joy, Health, honour and virtue And blessing, And to him proceeding from both Be equal praise. Amen. / MAGYAR / Zengjed, nyelv, a dicsőséges Test titkát, s a drága vért, Melyet hullatván értékes Váltságul az emberért A Föld ura, a fölséges Méh gyümölcse nem kímélt. Egünk küldte, s nekünk szülte tiszta Szűz szeplőtelen, köztünk élt és hinté földre az igét, mely jót terem, s csodás szertartással ülte búcsúestjét idelenn. Mert a végső estebédet tartván ő és társai, együtt a törvényes étket jámborul fogyasztani, étkül a tucatnyi népnek önmagát osztotta ki. A kenyeret öntestévé igézte az Ige-Test, s a bor lett Krisztus vérévé: magyarázni ne keresd! Hit dolga és igaz szívé, hogy erősen tartsa ezt. Méltó ezt a nagy Szentséget térdrehullva áldani, és a régi Szövetséget új rítussal váltani, pótolják a rest érzéket a merész hit szárnyai! Az Atyának és Fiának légyen áldás, dicsőség, üdv, hozsanna és imádat, ujjongások hirdessék, s aki Kettejükből árad: a Lélek is áldassék. Amen.
William Byrd Elgar Elgar Howarth Philip Jones Philip Jones Brass Ensemble 1976 2015
Provided to YouTube by Universal Music Group Byrd: The Battell - Arr. Elgar Howarth - The Earle Of Oxford's March · The Philip Jones Brass Ensemble Music From The Royal Court ℗ 1976 Decca Music Group Limited Released on: 2015-06-28 Producer: Chris Hazell Studio Personnel, Balance Engineer: Stanley Goodall Composer: William Byrd Arranger, Work Arranger: Elgar Howarth Auto-generated by YouTube.
Tylman Susato Thomas Morley David Munrow Bergeret Roch William Byrd John Dowland Galliard Chamberlain Richard Nicholson Nicholson Oxenford James Bowman Oliver Brookes Christopher Hogwood Early Music Consort 1510 1513 1525 1551 1557 1566 1569 1570 1599 1602 1636 1738 1967 1969 1971 1976 2017
Tylman Susato (arround 1510-1570): Twelve Dances from the ‘Danserye’ (1551) Click to activate the English subtitles for the presentation (00:00-01:22) 00:00 La Mourisque (full bande) 01:13 Branle quatre Branles (recorders & strings) 02:54 Ronde & Salterelle (recorders & strings) 04:28 Ronde mon amy (cornett, crumhorn, dulcian, sackbut & tabor) 06:59 Allemaigne & Recoupe (strings & harpsichord) 09:39 Pavane Mille regretz (recorders & lute) 12:38 Basse danse Bergeret sans roch & reprise (full band) 15:13 Danse du roy (crumhorns & rackett) 16:36 Ronde (crumborns & rackett) 17:38 Passe et medio & Reprise Le Pingue (recorders, viol, lute, strings & harpsichord) 20:17 Ronde (crumhorns, regal & sackbuts) 22:16 Pavane La Bataille (full band) Thomas Morley +••.••(...)) Dances for Broken Consort from ‘The First Booke of Consort Lessons’ (1599) * Click to activate the English subtitles for the presentation (25:13-26:47) 25:13 Mounsier’s Almaine (William Byrd) 27:46 Lachrimae Pavan (John Dowland) 32:22 Michill’s Galliard (Anon) 34:39 Lute Duet: My Lord Chamberlain’s Galliard (John Dowland) 37:12 The Jew’s Dance (Richard Nicholson) 38:59 Captaine Piper’s Pavan & Galliard (John Dowland) 46:18 My Lord of Oxenford’s Maske (William Byrd) 47:25 Lavolto (Thomas Morley) 49:11 La Coranta (Thomas Morley) The Early Consort of London The Morley Consort * Conductor: David Munrow Recorded in 1971, at London Painting: Pieter Brueghel l'Ancien (around 1525-1569) La danse de la mariée en plein air (v. 1566) Find CMRR's recordings on Spotify : (http•••) Download CMRR's recordings in High fidelity audio : (http•••) David Munrow studied English literature at Cambridge and spent a while in South America, where he became fascinated by native wind instruments. Even as a student he was a brilliant reéorder player, and during the 1960s he extended his expertise to a wide range of early wihd instruments. He established his Early Music Consort in 1967 and much of his later work was based round this ensemble, with James Bowman (countertenor), Oliver Brookes (viol), Christopher Hogwood (keyboard and percussion) and James Tyler (lute). His infectious enthusiasm and skilful programming brought him an immense following. He recorded a rather wider repertoire than he could take on tour with the consort (it ranged from the 12th to the 1 8th century, as well as contemporary music written for him). Everything Munow did was meticulously planned and researched. His own knowledge and experience was vast, extending far beyond the sort of music the public associated with him. This became apparent in his radio programme Pied Piper, broadcast four times a week, ostensibly intended for younger listeners but fascinating to all ages for its range of topics and engaging presentation. Perhaps the following reminiscences will give some idea of his character. I first met David in the mid-1960s, before he began his career. We were both enjoying a holiday at the Dartington Summer School of Music and our common interest in early music led to a week of intensive talking, arguing, drinking and listening to music. Although subsequently we did not see a lot of each other, when we did meet we immediately dropped back into the same easy relationship. Later, when he ran ensemble classes at the summer school, I was continually amazed at his remarkable memory. When auditioning prospective participants, he could remember the abilities of those he had heard for only a minute or so the previous year. He wasn't just being polite if he complimented them on their improvement: his private comments to me implied that he really had remembered. In 1969 he was appointed Professor of Recorder at the Royal Academy of Music. In practice, this meant that he turned up once a week and organised some sort of musicmaking with the tiny group of students who were interested in early music. I used to creep out from my job in the library, and we were also joined by a promising student from the Guildhall School of Music and Drama, Philip Pickett. On his first day, David expected me to join him for lunch. When I told him that I was not entitled to use the professors' dining room, he insisted on using the students' canteen and subsequently always ate there. One Wednesday in May 1976, he phoned me in my office (l was now at the BBC) and asked if I would compile a list of editions to include in the notes for his next record set. I agreed, but was puzzled: why wasn't he doing it himself? I was working at it on the following Saturday when it was announced on the radio that he had died. The fact that he committed suicide was only divulged later; but it was obvious that he had known that he would not have time to finish the work necessary for the recording and did not want to leave anything incomplete. Everything he did he did with a thorough professionalism: the panache of his performance was underlaid by an infinite capacity for attending to detail. Clifford Barlett
David Munrow Een Jacques Barbireau Pierre Attaingnant Jacotin Guillaume Heurteur Claudin Sermisy William Byrd Anthony Holborne Galliard Johann Heinrich Schmelzer Henry Purcell Antonio Vivaldi John Baston Cherry Georg Friedrich Händel Johann Sebastian Bach Greenwood Thomas Augustine Arne François Couperin Benjamin Britten Paul Hindemith Dickinson Turner Pugsley Lumsden Beek Simon Standage Sloan Oliver Brookes Christopher Hogwood Norma Burrowes James Bowman Martyn Hill Robert Lloyd Willan Early Music Consort London
1. English Dance (Anon. 13th Century) 2. Saltarello (Anon. 14th Century) 3. Een Vrolic Wesen (Jacques Barbireau) 4-7. Four chansons published by Pierre Attaingnant Yoyant souffrir (Jacotin) Troys jeunes bourgeoises (Guillaume le Heurteur) Allez soupirs (Claudin de Sermisy) Amour me voyant (Claudin de Sermisy) 8. Fantasy: The Leaves be green (William Byrd) 9-13. Five dances (Anthony Holborne) Sic Semper soleo Pavan Galliard The choice Muylinda 14. Sonata à 7 flauti (Johann Heinrich Schmelzer) 15. Fantasia: Three parts upon a Ground (Henry Purcell) 16-18. Concerto in A minor (Antonio Vivaldi) Allegro Largo Allegro 19-21. Concerto in D major (John Baston) Allegro Adagio Presto 22. 'O ruddier than the cherry' from *Acis and Galatea* (Georg Friedrich Händel) 23. 'Schafe können sicher weiden' from Cantata *Was mir behagt, ist nur muntre Jagd* BWV208 (Johann Sebastian Bach) 24. Sonatina from Cantata *Gottes Zeit ist die allerbeste Zeit* BWV106 (Johann Sebastian Bach) 25. 'Esurientes' from *Magnificat in E flat major (BWV243a) (Johann Sebastian Bach) 26. 'Under the Greenwood Tree' from *As You Like It* (Thomas Augustine Arne) 27-28. Two Musétes (François Couperin) Muséte de Choisi Muséte de Taerni 29. Scherzo (Benjamin Britten) 30. Trio from the Plöner Musiktag (Paul Hindemith) 31. The White Throated Warbler (Nigel Butterley) 32. Recorder Music (Peter Dickinson) The David Munrow Recorder Consort David Munrow John Turner David Pugsley Alan Lumsden Andrew van der Beek Members of The Early Music Consort of London Simon Standage, baroque violin Eleanor Sloan, baroque violin Oliver Brookes, rebec, bass viol, violone, baroque cello Jane Ryan, bass viol Elizabeth Page, bass viol, baroque treble recorder Robert Spencer, chitarrone James Tyler, lute, citole, renaissance tenor recorder Christopher Hogwood, organ, harpsichord David Corkhill, percussion Norma Burrowes, soprano James Bowman, counter tenor Martyn Hill, tenor Robert Lloyd, bass Recording Producer: John Willan Recording Engineer: Stuart Eltham
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- chronologie: Compositeurs (Europe). Interprètes (Europe).
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