13 Results for : homophonic

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    Gallery of Italian Madrigals & Motets
    Notes by Dr. David Schofield copyright 1993 Josquin's El Grillo is a frottola, a forerunner of the sixteenth century Italian madrigal. These were simple three- or four-part songs in a chordal style with the melody in the soprano. They may have been performed as accompanied songs for solo voice, but their homophonic texture suggests the possibility of purely vocal performances. Arcadelt's Il bianco e dolce cigno and D. Ferrabosco's Io mi son giovinetta are typical sixteenth century Italian Madrigals, which used poetic forms of freely arranged seven and eleven syllable lines imitating Petrarch. Like the frottola before it, the early madrigal (c. 1530) was primarily homophonic, although there was considerable use of imitation between voices. Wert's Chi salira per me is a madrigal in the classic style (1550-80). Madrigals of this period were highly polyphonic and imitative, and usually written for five voices, though four and six voices were not uncommon. Care is taken to enhance the text's meaning and pronunciation through musical expression. The late madrigal (c. 1580-1620) developed into an elaborate musical form, using extremes of chromaticism, word painting, and virtuosic vocal lines to depict the text. Marenzio's Cruda Amarilli, Gesualdo's Languisco e moro, and Monteverdi's Quel augellin che canta are examples. Gastoldi's Viver lieto voglio and Lassus' Matona mia cara are balletti, a form first introduced by Gastoldi in 1591. These are written in a simple chordal style using dance rhythms, frequently with a fa la la refrain. Balletti may have served as dance music and were widely imitated in England, particularly by Morley. Sicut Cervus epitomizes Palestrina's pure and reserved polyphonic style, which became the model for much subsequent church music. Croce's O sacrum convivium and Viadana's Exultate justi in Domino are popular four-part choral works which employ dance rhythms within a homophonic texture. These songs also resemble the popular villanelli and canzonetti of the period. Lassus' Ave verum corpus is written in the style of the Venetian 'cori spezzati'. Striking word-painting is particularly evident in the setting of the text 'unda fluxit'. Imitative descending lines cascade in all the voices. The six parts split into two-, three- and four-voice ensembles to contrast the tutti, creating the effect of a double chorus. Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the 'stile antico', the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century. The Members on this album Director: Erik-Peter Mortensen Associate Conductor: Dr. David Schofield Soprano i: Sandia Ang, Cathlee Ellis Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum Mezzo-Soprano: Melissa Fogarty Alto: Sally Elliot, Elaine Tokunaga Tenor i: Colin Bird, Louis Shafer Tenor II: Gregory Davidson, Arthur Krieck Baritone: Tod Mijanovich, Erik-Peter Mortensen Bass: Charles Grey Jr., Michael Orzechowski Track Texts and Translations 1. LANGUISCO E MORO: C Gesualdo (1560-c.1613) Languisco e moro, ahi, cruda! Ma tu, fera cagion de la mia sorte, Deh, per pieta, consola Si dolorosa morte D'una lagrima sola, Onde dica per fin del mio languire: 'Or che pietosa sei, dolce e'l morire'. I languish and die, ah cruel one! But you, savage cause of my fate, Ah, for pity's sake, comfort So painful a death With a single tear, Whence may be said at the end of my languishing: 'Now that you be merciful, sweet it is to die.' 2. EL GRILLO: J. Desprez (1440-1521) El grillo e buon cantore che tiene longo verso. Dale, beve grillo, canta. Ma no fa come gli altri uccelli Come li han cantato un poco Van' de fatto in altro loco. Sempre el grillo sta pur saldo. Quando la maggior el caldo Alhor canta sol per amore. The cricket is a fine singer who sustains a long note. Be happy, drink cricket, sing. But he is not like other birds Who sing a little Flying off to another place. The cricket always stands firm. When the weather is hottest He sings only for love. 3. IL BIANCO E DOLCE CIGNO: J. Arcadelt (c. 1505-1568) Il bianco e dolce cigno cantando more, et io Piangendo giungo al fin del viver mio. Strano e diversa sorte ch'ei more sconsolato, Et io moro beato. Morte, che nel morire Mi empie di gioia tutto e di desire. Se nel morir altro dolor non sento Di mille morte il di sarei contento. The white and gentle swan dies singing, and I Weeping reach the end of my life. What strange and diverse fate that he dies unconsoled, And I die blessed. Death, which in dying Fills me full of joy and desire. If in dying no other pain I feel With a thousand deaths a day I would be content. 4. MATONA MIA CARA: Orlando di Lasso (1532-1594) (Broken Italian spoken by German Soldier) Matona mia cara, mi follere canzon cantar sotto finestra, Lantze buon compagnon. Don don don diri diri don don don. Ti prego m'ascoltare che mi cantar de bon, E mi ti foller bene come greco e capo, etc.Com' andar a le cazze, calzar con le falcon Mi ti portar becazze, grasse come rognone, etc. Se mi non super dire tante belle radon, Petrarcha mi non saper, ne fonte d'Helicon, etc. Se ti mi foller bene mi non esser poltron, Mi ficar tutta notte, urtar come monton, etc. My dalingk voman, I vant a songk to singk unter ze vindow. I'm Lantzer und gut companion. Dongk dongk donk derry derry dongk dongk dongk. I vant you zu listen me, zints I singk zo gut. Und I vant you like ze Greek vants chicken, etc. Ven I go ze huntingk mit ze falcon I bringk you back voodcock fat like ze kidney, etc. I speak nicht zo gut zints I dunno ze Petrark oder ze faunten of yooth, etc. If you like me gut, me no lazy soldya, Me singk to you allk nigkht longk, last longa zan ze maunten-gaut, etc. 5. CHI SALIRA PER ME: G. de Wert (1535-1596) Chi salira per me, Madonn', in cielo A riportam' il mio perdut' ingegno Che, poi ch'usci da' bei vostr' occhi il telo Che'l cor mi fiss', ognor perdendo vegno? Ne di tanta jattura mi querelo, Pur che non cresca, ma stia a questo segno, Ch'io dubito, se piu se va scemando, Che stolto me n'andro pel mond' errando. Who will ascend for me, my Lady, to heaven To bring back my lost reason Which, since departed from your beautiful eyes the dart That my heart pierced, every hour I am losing? Nor of such a loss do I complain, Provided it increases not, but remains at this degree, For I doubt, if more it diminishes, That foolish I shall go through the world wandering. 6. VIVER LIETO VOGLIO: G. Gastoldi (1556-1622) 1. Viver lieto voglio Senza alcun cordoglio. La la. Tu puoi restar, Amor, Di saettarmi il cot, Spendi i pungenti strali Ove non paiian frali, Nulla ti stimo o poco E di te prendo gioco. La la. 2. Bacco adoro et amo E'l liquor suo bramo. La la. E i fammi allegro star E i m'e diletto car, Con lui e notte e giorno Io volontier soggiorno, Lui sempre lieto invoco E di te prendo gioco. La la. 1. To live happily I wish Without any deep sorrow. La la. You can cease, Love, From shooting my heart, Make use of your sharp arrows Where they may not seem weak, I have little or now esteem for you And I make fun of you. La la. 2. Bacchus I adore and love And I yearn for his liquor. La la. And he makes me happy And is to me dear delight, With him both night and day I willingly stay, To him always happily I call, And I make fun of you (Love). La la. 7. IO MI SON GIOVINETTA: D. Ferrabosco (1513-1574) Io mi son giovinetta, e volontieri M'allero e canto en la stagion novella, Merze d'amore e de' dolci pensieri. Io vo pe' verdi prati riguardando I bianchi fiori, ei vermigli, e' gialli, Le rose in su le spine, ei bianchi gigli, E tutti quanti gli vo somiglando Al viso di colui ch'amandomi Mi presa e terra sempre. I am a young lady, and gladly Rejoice and sing
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    Piano Works of Ehsan Saboohi
    About the Album Piano Works of Ehsan Saboohi are a collection of his compositions in contemporary music, which can be classified Experimental, Eye-Music and Free Tonal music. An innovative form in Music-Haiku, visual elements and notation graphics in Metamorphosis, and developing harmonic cells in Symphony No.1, can be considered as main features of this album. Music-Haiku Music-Haiku, an innovative title suggested by the composer, can be used and developed as a new form along with other known forms (Binary, Ternary and Rondo). The core idea of this form is inspired by Haiku poetry. In Haiku there are three verses with five, seven and five syllables respectively. In Music-Haiku, musical sounds in the form of chords or center-less tones take the place of words and syllables. Music-Haiku is made of smallest elements existed on formal music (Rhythmic, Homophonic and Melodic cells). Metamorphosis Second collection, "Metamorphosis" is composed based on the idea of "Music of the eyes". In Metamorphosis, the partitur is not only a notation, but it appears as a painting in the eyes of the composer and the player. In the "eye music", the partitur is a part of the composer's composition. Metamorphosis takes place in seven parts and it's basic cells are represented in each of these parts. Symphony No 1 for two pianos Symphony No 1 in two movements has been composed for symphonic orchestra as the composer's dissertation for M.A. degree (under the supervision of Hamidreza Dibazar). Like many of the classic composers of the world, Saboohi has re arranged his symphony for piano and smaller ensembles. This symphony has been composed in two movements and the version recorded in this album is arranged by the composer for two pianos.
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    Vitali: 12 Sonatas a due violini col basso per
    Born in Bologna on 18 February 1632, Giovanni Battista Vitali was one of the most outstanding cellists of his generation. Rising to become sottomaestro di cappella at the court of the music-loving Duke Francesco II d'Este in 1674, the Italian's output ranges from cantatas and oratorios to various instrumental works. His Sonatas for Violin Op.2, published in 1667, form the subject of this engaging release.The sonatas, all in the 'da chiesa' style, proved to be a highly popular collection during Vitali's time, and were reprinted no less than five times in the space of 18 years! Not only did their brevity and lack of extreme technical demands appeal to competent amateurs and small churches unable to afford costly vocal resources, but the works' ability to reconcile the exacting style of the early Baroque 'sonata da chiesa' with new 'classicizing' was particularly attractive to connoisseurs of the time. Cast in three or four movements, the sonatas either begin with slow and majestic one, or (more often) a faster one with a highly imitative texture. A particularly striking piece is the Sonata No.8 in C minor, whose use of homophonic harmony, underpinned by sequences of unresolved sevenths, must have seemed exceptionally modern for its time.Performing this charming collection of works are Semperconsort, a group of Renaissance and Baroque specialists who use period-style instruments to recreate how the music would have sounded. Their astute readings are headed by Luigi Cozzolino, principal violinist and founder of the group, whose absorbing playing can only increase listeners' appreciation for this often overlooked composer.Other information:-Historically-informed performances, recorded in 2009, by Luigi Cozzolino from original sources.-Includes biographies as well as informative notes on the composer and music, written by Carlo Vitali.- Giovanni Battista Vitali, the 17th century Bolognese master, wrote these Sonate di Chiesa (Church Sonatas) for 2 violins and basso continuo (the organ). They were played between or even during several parts of the Mass Liturgy, but were equally popular for domestic use.- The music, though still retaining some of the solemn and majestic character due to its liturgical bacground, is lively, brilliantly scored for the two violins, and foreshadowing the more concertante style of Corelli and Vivaldi.- The Semperconsort and Luigi Cozzolino are also featured on the earlier Vitali issue of Brilliant Classics (BC 93976): "A delightful disc, played in an infectious and enthousiastic manner. Vitali's music seems to speak with a distinctive voice, full of liveliness and charm"(Musicweb).
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