SKU: ST.MB74
ISBN 9790220219535.
Publ ished in 1590, Thomas Watson's Italian Madrigals Englished set the poet's own texts, in English, to music by Marenzio, Nanino and Striggio. Like Musica transalpina, dating from two years earlier, the collection marked an important stage in the assimilation of Italian secular styles within English music.
SKU: HL.49015916
ISBN 9790220124518. UPC: 884088567606. 8.25x11.75x0.375 inches. Italian.
Like many Englishmen I had sung madrigals for pleasure - usually late at night with friends, after several glasses of wine. While these madrigals have their charm, and many are extremely beautiful, I found, as I began an extended exploration of the madrigal as a creative venture, that the richest source lies in the Italian Renaissance.In 1998 I embarked on a project to write a series of madrigals, eventually deciding to collect them in 'books' in the manner of Italian madrigalists, such as Monteverdi or Gesualdo. The Second Book is for an unusual six-part group - the Scandinavian Trio Mediaeval (3 sopranos) and three tenors (John Potter plus two from the Hilliard Ensemble) - and sets Petrarch in the original 14th century Italian. I focused on those sonnets known as the Rima Sparsi (scattered verses) and added one extra Petrarch setting - originally a radiophonic piece (Marconi's Madrigal) for CBC's Marconi Day. Gavin Bryars.
SKU: BR.DV-7715-02
The works in this anthology were printed in part-books around 1580 and vividly document the high level of Italian madrigal composition before the great stylistic changes of the Baroque era. They offer vocal ensembles challenging and rewarding tasks. Baroque period. Choral score. 32 pages. Deutscher Verlag fur Musik #DV 7715-02. Published by Deutscher Verlag fur Musik (BR.DV-7715-02).
ISBN 9790200471595. 7.5 x 10.5 inches.
The works in this anthology were printed in part-books around 1580 and vividly document the high level of Italian madrigal composition before the great stylistic changes of the Baroque era. They offer vocal ensembles challenging and rewarding tasks.
SKU: KJ.SO311F
UPC: 8402702948.
This arrangement of two vocal madrigals offers a captivating introduction to Italian Renaissance music. Opportunities to work on ensemble intonation, blending, and timbre are fantastic. Some divisi cello and some shifting in the cello and bass parts.
SKU: ST.EM27
ISBN 9790220203428.
A minor canon of Norwich Cathedral, Carlton belonged also to the older generation of madrigal composers, particularly fond of the 'Byrd' or English cadence of flat versus sharp leading-notes. Although he claims to have laboured 'somewhat to imitate the Italian style', he admitted in his preface, 'I cannot forget that I am an English man.' CONTENTS All creatures then (SSATB) Calm was the air (SSAT (or A) B) Content thyself with thy estate (SAATB) Even as the flowers do wither (SSATB) From stately tower (SSATB) If women can be courteous (SSATB) Let every sharp (SSATB) Like as the gentle heart (SSATB) Nought is on earth (SSATB) Nought under heaven (SSATB) O vain desire (SSATB) Sound saddest notes (SSATB) So whilom learned (SSATB) The heathen Gods for love (SA (or T) A (or T) BB) The love of change (SSATB) The self-same things (SS (or A) ATB) The witless boy (SSATB) When Flora fair (SSATB) Who seeks to captivate (SAATB) Who vows devotion (SSATB) With her sweet locks (SSATB) Ye gentle ladies (SSATB).
SKU: CF.CM9345
ISBN 9780825893919. UPC: 798408093914. 6.875 x 10.5 inches.
Patrick M. Liebergen has done it again! He has masterfully arranged two of Orlande de Lassus' most well-known madrigals: O Occhi, Manza Mia & Mon Couer Se Recommande À Vous with options to suit the needs of men's choirs. Directors may choose to use the optional, supportive piano accompaniment provided by the arranger. Additionally, pronunciation guides of the original Italian and French texts and optional English texts are provided . Each madrigal can easily stand alone in concert performance.
SKU: HL.49047362
ISBN 9798350124842. UPC: 196288207597.
The choice of 16th century texts, by Bronzino and Battiferri, reflects the interests of the dedicatee of these sonnets - Craig Hugh Smyth, a fine art historian and former director of the Villa I Tatti, who was a specialist in Bronzino and Pontormo. Bronzino's sonnet is a lament on the death of Pontormo, his teacher; Laura Battiferri's poem is a direct response to that of Bronzino. As I was also asked to set sonnets by Petrarca, I chose two of his closely linked sonnets, numbers 229 and 230 in the Rime Sparse. I had written a work for I Tatti some five years earlier setting Petrarca (??A qualunque animale?, the first in my Fourth Book of Madrigals) and was familiar with the context. However, through correspondence with Kathryn Bosi, Music Librarian at I Tatti and, through her, Craig Smyth's family, I became increasingly aware of his unusual and quite special character. From his undergraduate days at Princeton and indeed throughout his life, although a great scholar and writer, he was at the same time an aficionado of jazz, loving above all Louis Armstrong, being photographed with Duke Ellington, taking his children to see Thelonious Monk, listening to Ben Webster and playing the tenor saxophone himself. Indeed, he had told Kathryn Bosi that he had been proud to walk in procession at the funerals of black musicians in New Orleans. In some ways his life was almost an obverse mirror image of parts of my own - I was a professional jazz musician but found myself teaching art history for a time. As Fiorella Superbi of I Tatti has said: Craig was a maestro di vita. I raise a glass in his memory and dedicate these sonnets to him. Gavin Bryars.
SKU: CA.182600
ISBN 9790007146153. Language: German/English.
Joh ann Hermann Schein's Israelsbrunnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written in the Italian madrigal manner 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the inexhaustible fountain of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament.
