Madrigals from the Italian Renaissance

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: 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: GI.G-8359

UPC: 785147835905. Italian.

Luca Marenzio’s Leggiadre ninfe comes from a collection of madrigals entitled Il trionfo di Dori. Each madrigal is scored for six voices and each ends with the text Viva la bella Dori (Long live fair Dori). This late sixteenth-century collection of madrigals enjoyed great success and was the model of the famous English collection of madrigals entitled, The Triumphes of Oriana. The GIA Historical Music Series edited by Dennis Shrock, presents repertoire suitable for performance by public school, college and university, church, and community ensembles, with the purpose of making available to today’s conductors lesser-known and previously difficult-to-procure historical masterpieces. The music, drawn from the Renaissance through the Romantic eras, is in performance editions based on the most current and rigorous scholarly research. The musical scores reflect original intent of notation, with all editorial markings and emendations clearly identified as such. In addition, preface material accompanying the music contains literal translations of foreign language texts and information regarding the lives of the composers, genres, and relevant performance practices. Dennis Shrock is Director of Choral Activities at Texas Christian University. He has been called one of the top choral scholars in the United States and has received a number of awards for his work. He received a bachelor's degree in music education from Westminster Choir College and both master's and doctoral degrees in choral conducting from Indiana University. .

SKU: HL.14020069

L'Orfeo is an opera from 1607, based around the legend of Orpheus and Eurydice. It is often cited as the earliest opera still regularly performed today. The libretto was written by the Italian lawyer anddiplomat Alessandro Striggio (1573-1630), for a carnival in Mantua. The music was composed by the Italian priest Claudio Monteverdi (1567-1643), arguably the greatest composer of the Renaissance era, who is bestknown for his madrigals as well as his sacred works such as the Vespers.

The Choruses From L'Orfeo have been edited by the Italian composer, musicologist and editor Gian Francesco Malipiero(1882-1973).

SKU: ST.EM42

ISBN 9790220223136.

This is the first ever complete published edition of a major madrigal collection that is essential to our understanding of the fruitful interaction of Renaissance Italian and English music.

In four, five and six voices, the 57 pieces of Musica Transalpina include 51 madrigals by Marenzio, Palestrina and others, the two parts of Byrd's 'La virginella', and four French chansons. Uniquely, the anthology also features singing translations of the original poems from the Italian into the vernacular, for which it was widely admired and circulated. As a printed source from which composers could learn the madrigal style and aesthetic, it was hugely influential in inspiring the 'golden age' of Tudor and Jacobean vocal music.

An important addition to The English Madrigalists series, Musica Transalpina of 1588 is not only of great scholarly interest but is also an outstanding addition to the repertoire that will delight contemporary singers no less than it enthralled those Elizabethans who first responded with such enthusiasm to its fine music and accessible 'Englished' texts.

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