First Set of Madrigals and Motets
Author : Orlando Gibbons
Publisher :
Page : 180 pages
File Size : 21,25 MB
Release : 1914
Category : Madrigals
ISBN :
Author : Orlando Gibbons
Publisher :
Page : 180 pages
File Size : 21,25 MB
Release : 1914
Category : Madrigals
ISBN :
Author : H. Colin Slim
Publisher : University of Chicago Press
Page : 459 pages
File Size : 21,33 MB
Release : 1972-09
Category : Music
ISBN : 0226762726
Transcription into modern notation of 30 motets and 30 madrigals for 4-6 voices by Verdelot and others; Latin or Italian words. Edited from part-books (4 surviving of 5), assembled in Florence ca.1528, possibly by Verdelot, and dedicated to Henry VIII of England.
Author : Orlando Gibbons
Publisher :
Page : 134 pages
File Size : 26,2 MB
Release : 1612
Category :
ISBN :
Author : Orlando Gibbons
Publisher :
Page : 134 pages
File Size : 42,40 MB
Release : 1612
Category : Madrigals, English
ISBN :
Author : Harry Colin Slim
Publisher :
Page : 790 pages
File Size : 13,26 MB
Release : 1972
Category : Music
ISBN : 9780226762715
Near the end of the third decade of the sixteenth century, a five-volume set of madrigal and motet partbooks was assembled in Florence and sent as a gift—or "musical embassy"—to the English court of Henry VIII. The manuscript set—minus the missing altus part—has been owned since 1935 by the Newberry Library in Chicago; but until H. Colin Slim's exhaustive efforts, no thorough study of the history or contents of the partbooks had been undertaken. At first encounter, these partbooks yield no clues concerning their provenance, their composers' names, or the reasons for their dispatch to England. In his search for this information, Professor Slim used the musicologists' customary tools, namely, biobibliography, concordances, and textual and musical analysis. But he also used bibliographers' tools not always employed by musicologists: watermarks, bindings, script, orthography, and illuminations. As a result of his efforts, the author was able to identify nearly all the works' composers and the manuscripts' expert illuminator. He also presents a detailed description of the binding process and the probably background of the scribe, places the political and social references in the works, and determines the route the volumes may have taken after they left Henry's library. By placing the date of the partbooks' arrival in England around 1528, Professor Slim suggests that the musical culture of the early Tudor court was less French than has hitherto been thought. Indeed, the presence of the partbooks in Henry's library makes them the earliest evidence of the Italian madrigal in England. The author also provides new and significant data on the artistic and historical position of Philippe Verdelot, the partbooks' most extensively represented composer. Volume I of this set contains two parts. The first, dealing with the manuscript itself, contains the history of the partbooks, information on their origin, composers, texts, and their importance as a gift to Henry VIII. Part II, dealing with the music, discusses general musical traits, the motets, the madrigals, the results of collation, and the appearance of some of the Newberry motets and madrigals in other sources.
Author : John Wilbye
Publisher :
Page : 220 pages
File Size : 29,97 MB
Release : 1914
Category : Motets
ISBN :
Author : Harry Colin Slim
Publisher :
Page : pages
File Size : 30,16 MB
Release : 1972
Category : Madrigals
ISBN :
Author : Orlando Gibbons
Publisher :
Page : pages
File Size : 48,78 MB
Release : 1914
Category :
ISBN :
Author : Academy of Ancient Music (LONDON)
Publisher :
Page : 8 pages
File Size : 34,78 MB
Release : 1746
Category :
ISBN :
Author : Iain Fenlon
Publisher : CUP Archive
Page : 424 pages
File Size : 35,49 MB
Release : 1988
Category : Music
ISBN : 9780521252287
This 1988 book examines the genesis and dissemination of the Italian madrigal in its formative stages. Iain Fenlon and James Haar have analysed this vast repertoire as it is found in manuscript and print offer information concerning the date and provenance of many fundamental sources together with a view of the subject which differs radically from previous treatments. Their study is divided into two parts. The first covers the rise and early cultivation of the madrigal, chiefly in Florence and Rome. The second contains a detailed descriptive inventory of all known manuscripts and printed editions, finishing with lists of contents and concordances in each case. This important study will serve those with an interest in Renaissance music and the changing cultural ambience of early sixteenth-century Florence and Rome.