Johannes de Stokem Video
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Odhecaton Johannes Stokem Nimura Ottaviano Petrucci 1466 1503 1539
Socre & MP3 by Shigekazu Nimura, a member of Aeolian Consort. Web site of Aeolian Consort (http•••) Canti C published by Ottaviano Petrucci+••.••(...), a Venetian Publisher) in 1503 Original facsimile is in IMSLP.((http•••)
Édouard Victoire Antoine Lalo Lorenzo Gatto Jean Jacques Kantorow Stradivari Severe Baumann Pierre Baillot François Antoine Habeneck Jules Pasdeloup Pablo Sarasate Yehudi Menuhin Stockem Concert National 1698 1823 1839 1845 1861 1865 1866 1873 1874 1875 1892 1943 2015
Edouard Lalo - Symphonie Espagnole for violin and orchestra, Op. 21(1874), Lorenzo Gatto (violin), Orchestre Philharmonique de Liège, Jean-Jacques Kantorow (conductor). Lorenzo Gatto plays the ‘Joachim’ Stradivari from 1698. Recorded: 26-31 January and 6-14 July 2015. I.Allegro non troppo – 00:00 II. Scherzando (Allegro molto) – 08:04 III. Intermezzo (Allegretto non troppo) – 12:11 IV. Andante – 18:28 V. Rondo – 25:15 Édouard-Victoire-Antoine Lalo (27 January 1823 – 22 April 1892) was a French composer. His most celebrated piece is easily Symphonie espagnole. “Lalo’s youth was for a long time seen through the distorting lens of his admiring son, the prominent music critic Pierre Lalo +••.••(...)), who created a legend: Spanish ancestry dating back to Renaissance times, a strict and severe military family, a young man at odds with that family... all of which was propagated for a hundred years or so by the most influential authors. In reality his youth was a little less extraordinary and much less conflictual. Born in Lille, Edouard Lalo learned to play the violin at the Conservatoire there with the violinist and conductor Müller and the violist, cellist and quartettist of German origin, Pierre Louis Baumann. In 1839, aged barely sixteen, he moved, despite paternal opposition, to Paris, where he continued to study the violin with Pierre Baillot, then François-Antoine Habeneck, and began to study composition. Lalo really began to come into his own as a composer in the 1870s, when there was an important revival of interest in France in instrumental music, to which he contributed many new pieces, as well as unearthing some of his early works, the context now being much more favourable than it had been in the years 1845-1865. Indeed, the Concerts Populaires, which had been initiated by Jules Pasdeloup in 1861, the Société Nationale de Musique (with Lalo as one of its founder-members), and the Concert National provided outlets for new compositions at that time – especially symphonic works, but also chamber pieces. The Symphonie espagnole must have been intended to showcase the qualities of the soloist. The work is the composer’s musical homage ‘À son ami Pablo de Sarasate’, with whom, from the moment they met in 1873, he had shared an admirable complicity. Sarasate played the Symphonie espagnole, with piano accompaniment, at Lalo’s home on 29 December 1874. After a few more corrections, the performance material was published, and the public première was given in the cycle of Concerts Populaires at the Cirque d’Hiver in Paris on 7 February 1875. The performance was a triumph for both Sarasate and Lalo. Ten weeks later the work was given again at the Concerts Populaires in Brussels, and during the following months Sarasate took it all over Europe. The only adverse criticism that was expressed referred to its length: it lasts about thirty-five minutes, and audiences were not used to hearing works in five movements! Unfortunately, to remedy that, violinists (including very famous ones) ineptly took to omitting the delightful Intermezzo. It was Yehudi Menuhin, in the twentieth century, who reinstated the movement. The Symphonie espagnole’s originality – it is neither a symphony nor a concerto, but more like a suite, with the soloist and orchestra conversing as equal partners – immediately gave it a special place in the catalogue of concertante works.” (by Michael Stockem)
As part of the Vocal Art Ensemble's concert series "Mostly Madrigals" was a collaboration with the recorder ensemble "Baroque and Beyond". To help educate the audience on the elements of true madrigals, we also contrasted other pieces such as this one, Brunette by Johannes de Stokem (in this case, to illustrate the wide range of period instruments).
Odhecaton Ottaviano Petrucci Josquin Desprez Alexander Agricola Johannes Stokem Jacob Obrecht Pierre Rue Ghizeghem Ninot Petit Weerbecke 1470 1480 1500 1503 1504 1510
To skip to another track, click on the time stamp: 0:00 Bergerette savoyenne (Josquin des Prez) 3:30 Comment peult (Josquin des Prez) 5:35 Je nay dueil (Alexander Agricola) 8:45 Brunette (Johannes de Stokem) 10:24 Rompeltier (Jacob Obrecht) 11:18 Tandernaken (Jacob Obrecht) 14:04 Tous les regres (Pierre de la Rue) 15:47 A la audienche (van Ghizeghem) 18:06 In te Domine, speravi (Josquin des Prez) 20:56 E la la la (Ninot le Petit) 22:20 La stagetta (Gaspar van Weerbecke) Ottaviano Petrucci is remembered as the first large scale publisher of printed music in Europe. He had reconfigured Gutenberg's movable type technology to accommodate musical notation with the intent to mass produce multi-volume part books. His meticulously indexed compilation of secular music was titled Harmonice Musices Odhecaton (Canti A, B and C). It gave future generations of performers and musicologists straightforward, legible copies of more than 200 masterpieces by some of the greatest composers of his generation. Some scholars believe that the the Odhecaton was intended for use by instrumentalists given the absence of lyrics beneath the lines of musical notation. Afterall, Petrucci knew very well how to match words of a song to their corresponding notes. For example, the Josquin piece "In te Domine, speravi," from a different Petrucci compilcation "Frottole Libro Primo" does include the lyrics associated with the melody (see example). For the soundtrack in this video, I selected representative works principally by Netherlanders: Josquin Desprez, Jacob Obrecht, Pierre de la Rue, Gerard Weerbecke and others. Like other videos on my Youtube channel, all the musical clips are MIDI files downloaded from different websites. I edited each MIDI file to emulate the sound and feel of a period performance. The raw MIDI files were downloaded from Aeolian Consort's website on geocities.co.jp and edited using the iPhone app MusicStudio2. Nearly all the pieces are transposed down an octave from the Aeolian Consort 4' recorder arrangements. Most of the artwork featured in this video comes from the period between 1470 and 1510. A handful are products of early 15th century artists. They can be roughly divided into 4 categories: 1. Facsimile printed scores from Petrucci's 1503 and 1504 editions of Harmonice Musices Odhecaton Canti A and Canti B. 2. Portraits of the composers (Desprez, Obrecht and de la Rue) as well as of their patron Duke Ercole I of Ferrara and his daughter Isabella d'Este. 3. Large scale Italian Renaissance paintings and frescos containing iconography of angels (and people) playing instruments that were current in the late 15th century. 4. Late 15th century illuminated manuscripts from France and Burgundy containing scenes of nobles dancing or otherwise enjoying a live musical performance.
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): S...