• Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

    Les nuits d'été (H. 81): I. Villanelle 00:00 II. Le spectre de la rose 02:09 III. Sur les lagunes 08:41 IV. Absence 14:43 V. Au cimitière 20:21 VI. L'île inconnue 25:51 Berlioz, Hector (1803-69) -composer Kiri Te Kanawa -soprano Daniel Barenboim -conductor Orchestre de Paris Scores: I. http://sausage.whatbox.ca:15263/imglnks/usimg/4/4f/IMSLP55645-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_I._Villanelle__orch._score_.pdf II. http://sausage.whatbox.ca:15263/imglnks/usimg/5/5e/IMSLP55646-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_II._Le_Spectre_de_la_Rose__orch._score_.pdf III. http://conquest.imslp.info/files/imglnks/usimg/c/c7/IMSLP55647-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_III._Sur_les_Lagunes__orch._score_.pdf IV. http://sausage.whatbox.ca:15263/imglnks/usimg/0/05/IMSLP55648-PMLP...

    published: 29 Mar 2014
  • Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

    Giovanni Giacomo Gastoldi (ca. 1554 – 4 January 1609), was an Italian composer of the late Renaissance and early Baroque periods. He is known for his 1591 publication of balletti for five voices. Balletti (1591) 1. L'Innamorato 2. Introduittione a 1 Balletti (1:23) 3. Il bell'humore (3:07) 4. L'Acceso (7:28) 5. Concerto de Pastori a 8 (12:32) 6. Il contento (15:01) 7. Amor vittorioso (17:37) 8. Il Piacere (20:38) 9. La Bellezza (22:58) 10. L'Ardito (27:45) 11. Gloria d'Amore (31:14) 12. Speme Amorosa (34:53) Ensemble Musique Ancienne de Lyon Instrumentations et Direction musicale: François Castet Ensemble Vocal de Lyon Direction: Guy Cornut His two sets of balletti, a strophic vocal dance, however, are the most prominent and influential. These were written for five voices, and contain...

    published: 04 Jan 2016
  • Gs feat Shu Ga Сердце Prod by Gs

    собственно первая работа в стиле трип-хоп)) Большое спасибо оператору Толику http://vkontakte.ru/id7247322 Монтажеру Саше Пивоварову и естесвенно GS'у

    published: 10 Jun 2009
  • Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

    In answer to a request... Schubert wrote no fewer than five versions of this song, and also based his Trout Quintet, D667 on it. It's a charming mini-drama, reflecting the naturalist theme of the Romantic period and Schubert's own sense of playfulness. In the text, the narrator describes looking at a trout in the water, and his indignation when a fisherman catches it by unfair means. The famous six-note phrase that forms the majority of the accompaniment evokes the image of a fish literally rising to the bait. The vocal melody is equally light, until the moment when the fisherman muddies up the water to catch the fish, when both voice and piano change to a darker tone, creating the sense of a little drama enacted. (allmusic.com) Die Forelle In einem Bächlein helle, Da s...

    published: 21 Jun 2009
  • Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

    A new genre of polyphonic Christmas carols that developed in the Southern Netherlands during the seventeenth century was called cantiones natalitiæ. These were sacred songs in Dutch (Flemish) or Latin, in simple, strophic four-part settings with figured bass. The composers of early seventeenth-century cantiones natalitiae were local church musicians of Antwerp, Brussels, and Ghent. The carols, mostly based on pre-existing songs, were sung in connection with Christmastide devotional services, especially the evening Marian Salve service. The earliest Flemish carols were published in the Laudes vespertinæ of 1604 and 1609. The three selected Christmas songs were all published in Antwerp in the 17th century and are by Guilielmus Messaus (1589-1640), by an unknown composer and by Joannes Ber...

    published: 20 Nov 2010
  • Giulio Caccini - Amor, io parto - Montserrat Figueras

    High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (1551--1618) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-compos...

    published: 11 Aug 2008
  • FRANCESCA CACCINI, 'Ch'Amor sia nudo, e pur com l'ali al tergo' (Il primo libro delle Musiche)

    - FRANCESCA CACCINI (18 September 1587 † after 1641) http://en.wikipedia.org/wiki/Francesca_Cacciniwas SECULAR SONGS FRANCESCA CACCINI, Italian Composer, Singer, Lutenist, Poet, and Music Teacher of the early Baroque era, was also known by the nickname "La Cecchina", originally given to her by the Florentines and probably a diminutive of "Francesca". She was the daughter of Giulio Caccini, and was one of the best-known and most influential female European composers between Hildegard of Bingen in the 12th century and the 19th century. Her stage work, 'La liberazione di Ruggiero', has been widely considered the first Opera by a woman composer. Francesca, who assumed an important role in the seventeenth century as a Voice Teacher in the Medici Court, also developed a compendium of contemp...

    published: 27 Feb 2015
  • Udite, udite amanti

    Strophic canzonetta

    published: 07 Nov 2012
  • Rosetta by Antonio Zacara da Teramo: CWRU Medieval Ensemble

    Cynthia Black & Karin Cuellar Rendon, vielles Instrumental ballata from the program, “The Beginning of Joy: Italian Music of the Late Middle Ages,” Harkness Chapel, October 31, 2015. CWRU Medieval Ensemble, Ross W. Duffin, director; Shira Kammen, guest artist & director.

    published: 12 Nov 2015
  • L'Euridice by Giulio Caccini

    Innsbrucker Festwochen der Alten Musik 2013 Euridice, Tragedia Silvia Frigato (soprano) Orfeo Furio Zanasi (baritone) Dafne, Proserpina Sara Mingardo (alto) Venere Monica Piccinini (soprano) Arcetro Giampaolo Fagotto (tenor) Plutone Antonio Abete (bass) Aminta, Tirsi Luca Dordolo (tenor) Caronte Mauro Borgioni (baritone) Radamanto Matteo Bellotto (bass) Choir and instrumental ensemble Concerto Italiano Musical director and harpsichord Rinaldo Alessandrini Stage director and costumes Hinrich Horstkotte Stage design Nicolas Bovey Composta in Musica in Stile Rappresentativo by Giulio Caccini (1551--1618) Libretto by Ottavio Rinuccini Thirst printed version: 1600 Premiere: 1602, Florence In an attempt to revive classical Greek tragedy, the opera genre came into being around...

    published: 23 Aug 2013
  • Trip-Hop- Thievery Corporation - Until The Morning

    I keep on fear, keep on loathing Nothing brings it on I keep on falling Decide what it is I can not find It subsides what you make it Never feel like you're gonna break, ye It's gonna be alright alright Sleep until the morning comes The sun will warm your soul Sleep until the morning comes for you Til the morning it's alright I can walk into the sunlight, into the day, into the day, to the day I feel it falling, nothing comes to my mind Bring it on in a different tide I feel alright, alright I feel strong, i feel rigid It's nothing to do with the vision Oh feels so right, so right Sleep on tight, sleep on tight Sleep until the sunlight Sleep until sunlight Sleep on tight Sleep on tight Sleep on tight Sleep on tight, til the sunlight Sleep on tight, til the sunlight burns you happy Til the...

    published: 14 Jul 2012
  • Bam Circa 86 - BANDANNAZ

    Album: VSOP (Versez Sans Oublier Personne) http://bamcirca86.bandcamp.com/album/vsop-versez-sans-oublier-personne

    published: 07 Sep 2012
  • Sad, but Beautiful Music

    A sad, but very heart touching music! Subscribe: youtube.com/user/610fatima New Video every Friday, so check out! Read my blog: http://sadmusic1.blogspot.ca/2013/08/hello-everyone-this-is-just-very-quick.html Ending by: dreamscence.org

    published: 28 Aug 2013
  • Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

    On February 16 2014, P.S. Montreal and Cath.A.Strophic Productions held a model casting for the upcoming "Love the Skin You're In" Fashion show, to be held on April 26th 2014. Video by My 11.11 Productions (http://vimeo.com/user9827590 and https://www.facebook.com/pages/My-1111-Productions/121926871224698) Event details: https://www.facebook.com/events/1407674952822464/ Event tickets: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Special thank you to our judging panel and volunteers: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmed at Shift Space (http://www.shiftspace.ca/) ...

    published: 17 Mar 2014
  • Silent Night (with lyrics)

    published: 14 Dec 2008
  • Enemiga le soy madre (Cancionero de Palacio)

    Cancionero de Palacio "Enemiga le soy madre" Juan de Espinosa Enemiga le soy, madre, a aquel cavallero yo. ¡mal enemiga le soy! En mí contempla y adora como a Dios que l'es testigo. Él me tiene por señora, yo a él por enemigo. Dos mil vezes le maldigo por lo cual no mereçío. ¡Mal enemiga le soy! The early-16th-century manuscript Cancionero de Palacio is a true musical treasure trove: it contains some 450 songs from the Madrid court, dating from the 15th and early 16th century. Most of these were composed by Juan del Encina (1468-1530), even though he was not officially related to the court. Most pieces in the Cancionero belong to the villancico genre, a folksy refrain song that could take its subject matter from almost every aspect of life, among which love or the ...

    published: 22 May 2010
Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

  • Order:
  • Duration: 29:29
  • Updated: 29 Mar 2014
  • views: 17626
videos
Les nuits d'été (H. 81): I. Villanelle 00:00 II. Le spectre de la rose 02:09 III. Sur les lagunes 08:41 IV. Absence 14:43 V. Au cimitière 20:21 VI. L'île inconnue 25:51 Berlioz, Hector (1803-69) -composer Kiri Te Kanawa -soprano Daniel Barenboim -conductor Orchestre de Paris Scores: I. http://sausage.whatbox.ca:15263/imglnks/usimg/4/4f/IMSLP55645-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_I._Villanelle__orch._score_.pdf II. http://sausage.whatbox.ca:15263/imglnks/usimg/5/5e/IMSLP55646-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_II._Le_Spectre_de_la_Rose__orch._score_.pdf III. http://conquest.imslp.info/files/imglnks/usimg/c/c7/IMSLP55647-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_III._Sur_les_Lagunes__orch._score_.pdf IV. http://sausage.whatbox.ca:15263/imglnks/usimg/0/05/IMSLP55648-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_IV._Absence__orch._score_.pdf V. http://javanese.imslp.info/files/imglnks/usimg/1/15/IMSLP55649-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_V._Au_Cimeti__re__orch._score_.pdf VI. http://conquest.imslp.info/files/imglnks/usimg/8/81/IMSLP55650-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_VI._L_Ile_inconnue__orch._score_.pdf Playlist "The art of French song: Faure, Debussy, Ravel, Poulenc, Satie...": http://www.youtube.com/playlist?list=PLdM8VSWYvcWGecjk_VR0LNMYlVs05efWQ This is a cycle of six settings of poems written by Théophile Gautier. Though their subjects have little direct connection, each possesses the sultry, scented charm implied by Berlioz's title. The songs were composed in 1832 and published in 1841. Except for "Absence," which was orchestrated in 1843, the orchestral versions of the remaining songs were completed in 1856. Aside from their immediate appeal, they suggest that, before the rise of a new school of composers such as Fauré, Duparc, Debussy, and Ravel, Berlioz was reacting to a demand for songs of a distinctively French character, compared with the then-widely popular German lied. However, the American musicologist Alfred Einstein's assertion that Berlioz "sowed the seeds for the entire musical lyricism of the nineteenth century in the French language" is surely an exaggeration: he was too much an admirer of German music to do such a thing. Indeed, the first song "Villanelle" is almost strophic, only the third stanza showing any real harmonic or melodic changes in the vocal line, a device which makes it reminiscent of Schubert. Singers tend to pick and choose among the songs performed but, since all easily stand on their own merits, this does not matter a great deal. "Absence," a call for the return of the beloved, would, for example, make an impressive opening to the cycle. "Le spectre de la rose" (I am the ghost of the rose you wore at the ball) is operatic in character and avoids the obvious waltz rhythms used in the ballet music that was also inspired by this poem. "Sur la lagunes," a lament for a dead lover, was also set by Fauré under the title Chanson de pêcheur. Berlioz makes it into a barcarolle, with a flowing accompaniment and echoes of Spain and Italy. "Au cimetiere" (the churchyard where the beloved lies) is a lament, with the added dimension of modern-sounding semitone changes and enharmonic modulations - evidence of Berlioz's constant search for ways to distance himself from conventional tonality. The final song, "L'ile inconnue," a light serenade, (where will you go, fair one in my magic boat) is - apart from one rather awkward cadence just before the lady replies - similarly progressive in its tonality. The tenderly expressive qualities of these settings makes one wish that Berlioz had continued his dedication to French poetry. Source: http://www.allmusic.com/composition/les-nuits-d%C3%A9t%C3%A9-song-cycle-for-voice-piano-or-orchestra-h-81-op-7-mc0002360887 Buy the CD here: http://www.deccaclassics.com/en/cat/4109662
https://wn.com/Kiri_Te_Kanawa_The_Complete_Les_Nuits_D'Été_H._81_(Berlioz)
Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

  • Order:
  • Duration: 38:44
  • Updated: 04 Jan 2016
  • views: 8842
videos
Giovanni Giacomo Gastoldi (ca. 1554 – 4 January 1609), was an Italian composer of the late Renaissance and early Baroque periods. He is known for his 1591 publication of balletti for five voices. Balletti (1591) 1. L'Innamorato 2. Introduittione a 1 Balletti (1:23) 3. Il bell'humore (3:07) 4. L'Acceso (7:28) 5. Concerto de Pastori a 8 (12:32) 6. Il contento (15:01) 7. Amor vittorioso (17:37) 8. Il Piacere (20:38) 9. La Bellezza (22:58) 10. L'Ardito (27:45) 11. Gloria d'Amore (31:14) 12. Speme Amorosa (34:53) Ensemble Musique Ancienne de Lyon Instrumentations et Direction musicale: François Castet Ensemble Vocal de Lyon Direction: Guy Cornut His two sets of balletti, a strophic vocal dance, however, are the most prominent and influential. These were written for five voices, and contained passages of nonsense syllables (e.g. "fa la la") which seemed to personify a type of lover and love-making. As a whole, Gastoldi's balletti were a musical commedia dell'arte, and included the following compositions: Contento (The Lucky One), Premiato (The Winner), L'Inamorato (The Suitor), Piacere (Pleasure), La Bellezza (Beauty), Gloria d'Amore (Praise of Love), L'Acceso (The Ardent), Caccia d'Amore (Love-Chase), Il Martellato (The Disdained), Il Bell’humore (The Good Fellow), Amor Vittorioso (Love Victorious), and Speme Amorosa (Amorous Hope). His balleti music basically had a simple chordal texture, fast declamation and rhythmic accents at the expense of contrapuntal display, as is to be expected from their close relationship to dance music. Gastoldi's Balleti a Cinque Voci was published in Venice in 1591, and immediately became a "best seller." Within a short time, the collection was reprinted ten times, not only by their original publisher but also in other countries as well. Composers like Vecchi, Banchieri, Hassler, and Morley were greatly captivated by this musical creation (compare Morley's ballett Now is the Month of Maying for a clear example of Gastoldi's influence). It is certain that many frottole, villancicos, and chansons francaises were intimately related to dance, but it seems true that Gastoldi was the first scholarly author, presumably since the thirteenth century, to compose songs for dancing which were modeled on instrumental patterns, and were perfectly apt for instrumental performance alone. The title page of the balletti bestows the title "Maestro di Cappella del Serenissimo Signor Duca di Mantova" to Gastoldi. However, this has no slightest intention of masking sophistication behind the spontaneous naivete of Gastoldi's works, because the entire content is a collection of simplicty, healthy playfulness, communicative carefreeness, and gaiety. The common trait is, of course, the Fa-la refrain, (which incidentally became "lirum-lirum "in Gloria d’amore) with skipping rhythms, clear lines, and frank tonality. Gastoldi sought to vary his compositions from ballet to ballet by sometimes writing in triple time, in double or by the alternate use of major and minor. Otherwise, it cannot be said that he at all attempted a psychological differentiation between the several "characters" depicted.
https://wn.com/Giovanni_Gastoldi_Balletti_Per_Cantare,_Sonare_E_Ballare_(1591)
Gs feat Shu Ga Сердце Prod by Gs

Gs feat Shu Ga Сердце Prod by Gs

  • Order:
  • Duration: 2:59
  • Updated: 10 Jun 2009
  • views: 1621
videos
собственно первая работа в стиле трип-хоп)) Большое спасибо оператору Толику http://vkontakte.ru/id7247322 Монтажеру Саше Пивоварову и естесвенно GS'у
https://wn.com/Gs_Feat_Shu_Ga_Сердце_Prod_By_Gs
Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

  • Order:
  • Duration: 1:58
  • Updated: 21 Jun 2009
  • views: 1850243
videos
In answer to a request... Schubert wrote no fewer than five versions of this song, and also based his Trout Quintet, D667 on it. It's a charming mini-drama, reflecting the naturalist theme of the Romantic period and Schubert's own sense of playfulness. In the text, the narrator describes looking at a trout in the water, and his indignation when a fisherman catches it by unfair means. The famous six-note phrase that forms the majority of the accompaniment evokes the image of a fish literally rising to the bait. The vocal melody is equally light, until the moment when the fisherman muddies up the water to catch the fish, when both voice and piano change to a darker tone, creating the sense of a little drama enacted. (allmusic.com) Die Forelle In einem Bächlein helle, Da schoß in froher Eil Die launische Forelle Vorüber wie ein Pfeil. Ich stand an dem Gestade Und sah in süßer Ruh Des muntern Fischleins Bade Im klaren Bächlein zu. Ein Fischer mit der Rute Wohl an dem Ufer stand, Und sah's mit kaltem Blute, Wie sich das Fischlein wand. So lang dem Wasser Helle, So dacht ich, nicht gebricht, So fängt er die Forelle Mit seiner Angel nicht. Doch endlich ward dem Diebe Die Zeit zu lang. Er macht Das Bächlein tückisch trübe, Und eh ich es gedacht, So zuckte seine Rute, Das Fischlein zappelt dran, Und ich mit regem Blute Sah die Betrogene an. Christian Friedrich Daniel Schubart (1739-1791) The trout In a bright little brook there shot in merry haste a capricious trout: past it shot like an arrow. I stood upon the shore and watched in sweet peace the cheery fish's bath in the clear little brook. A fisher with his rod stood at the water-side, and watched with cold blood as the fish swam about. So long as the clearness of the water remained intact, I thought, he would not be able to capture the trout with his fishing rod. But finally the thief grew weary of waiting. He stirred up the brook and made it muddy, and before I realized it, his fishing rod was twitching: the fish was squirming there, and with raging blood I gazed at the betrayed fish. Translation: Emily Ezust Dietrich Fischer-Dieskau (baritone) Gerald Moore (piano)
https://wn.com/Schubert_Die_Forelle_(Fischer_Dieskau,_Moore)
Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

  • Order:
  • Duration: 7:39
  • Updated: 20 Nov 2010
  • views: 15091
videos
A new genre of polyphonic Christmas carols that developed in the Southern Netherlands during the seventeenth century was called cantiones natalitiæ. These were sacred songs in Dutch (Flemish) or Latin, in simple, strophic four-part settings with figured bass. The composers of early seventeenth-century cantiones natalitiae were local church musicians of Antwerp, Brussels, and Ghent. The carols, mostly based on pre-existing songs, were sung in connection with Christmastide devotional services, especially the evening Marian Salve service. The earliest Flemish carols were published in the Laudes vespertinæ of 1604 and 1609. The three selected Christmas songs were all published in Antwerp in the 17th century and are by Guilielmus Messaus (1589-1640), by an unknown composer and by Joannes Berckelaers (?Antwerpen ±1630-?Antwerpen ±1700). 1) Guilielmus Messaus, Lof sy dat soete kindeken cleyn (1629) (performed by Camerata Trajectina (http://www.camerata-trajectina.nl)) 2) Incognito, O herders al soetjens (1651) (see for lyrics and other songs to the same tune: http://www.dbnl.org/tekst/duys001oude03_01/duys001oude03_01_0021.php ) (performed by Early Music New York) 3) Joannes Berckelaers, Titer wat een goede maer (1667) (see for lyrics: http://books.google.be/books?id=QzLaAAAAMAAJ&q=%22Titer+wat+een+goede+maer%22&dq=%22Titer+wat+een+goede+maer%22&hl=nl&ei=rf_nTJ7RBcGVOvGc7dQK&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCgQ6AEwAA) (performed by Guy de Mey and Knapenkoor in Dulce Jubilo) Images: 00:19 Portrait of Archduchess Isabella Clara Eugenia, Spanish Regent of the Low Countries from 1621 to 1633, as a Nun, 1625, by Peter Paul Rubens, Norton Simon Art Foundation 00:44 Adoration of the Magi, between 1618 and 1628 ?, by Peter Paul Rubens and his workshop (Anthony van Dyck?), Brussels, Museum of Fine Arts 01:10 Adoration of the Magi, 1624, by Peter Paul Rubens (and his workshop?), Antwerp, Royal Museum of Fine Arts 01:58 Archduke Leopold Wilhelm of Austria, the Governor of the Spanish Netherlands from 1647 to 1656, as marshal, 1652, by David Teniers the Younger, Vienna, Kunsthistorisches Museum 02:37 Brabant, Hainaut and Flanders honour the Virgin Mary, 1654, by Theodoor van Thulden, Vienna, Kunsthistorisches Museum 03:22 Adoration of the Shepherds, between 1630-1640?, by Theodoor van Loon, Paris, Louvre 04:00 Adoration of the Magi, by Theodoor van Loon, Vienna, Lichtenstein Museum 04:32 King Charles II of Spain, ruler of the Spanish Netherlands, as a child, 1666 (?), ascribed to David Teniers III, Brussels, Royal Museums of Fine Arts 05:10 Adoration of the Shepherds, by Jacob Jordaens, Athens, National Art Gallery 05:55 Adoration of the Magi, by Jacob Jordaens, Cherbourg, Musée Thomas Henry 06:36 Coronation of the Virgin Mary, 1630, by Cornelis Schut 07:07 The 1670 edition of the Cantiones natalitiæ by Johannes Berckelaers, published in Antwerp
https://wn.com/Cantiones_Natalitiæ_Dutch_Christmas_Carols_From_The_Southern_Netherlands_In_The_17Th_Century
Giulio Caccini - Amor, io parto - Montserrat Figueras

Giulio Caccini - Amor, io parto - Montserrat Figueras

  • Order:
  • Duration: 3:31
  • Updated: 11 Aug 2008
  • views: 76833
videos
High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (1551--1618) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-composed, somewhat rhythmically-free compositions with rhapsodic passages designed to emphasise the important words in the text -- and ten "arias" which are shorter and usually strophic. ... The type of solo "madrigal" pioneered by Caccini is distinguished from the polyphonic madrigal which was the most popular form of secular composition during the late Renaissance." - Sheila Barnes "Madrigals are, according to Caccini's definition, through-composed one part pieces which are usually elaborately ornamented on non-strophic texts whose metric structure is irregular. ... One main theme dominates all of the poems upon which Caccini's Nuove Musiche is based: love. Two literary forms reflect the two aspects of love, the elegiac madrigal, in which the plaint of the hapless lover finds its expression, and the canzonetta, in which the joy of reciprocated love and the rapturous desire of the young lover is celebrated in many stanzas. In setting the madrigals Caccini chose a free recitative form, whereas the canzonette find their musical counterpart in rhythmically striking arie, which bear similarity to dance songs" - Silke Leopold "Among the notational innovations developed by Caccini was the specification and writing out of ornamentation. Previously, ornamentation had always been left to the discretion of the performers. In order to eliminate "excesses" on the part of singers (which presumably obscured the text), Caccini wrote out the music exactly as he wished it to be performed. He did, however, still allow for improvisation to emphasise significant words and cadences. The use of ornamentation was thus restricted to expressing the text, and was no longer an end in itself, as had been the case in earlier vocal practice. One type of ornamentation specified by Caccini, which may be less familiar to modern ears is the trillo: a kind of "tremolo" in which fluctuations of intensity are sounded like a reiteration of the note. Caccini includes the trillo in "the good manner of singing" as a thing written one way, but sung another way "for more grace" and "refinement" ("squisitezza"), qualities of which Castiglione would have approved." - Sheila Barnes Original text: Amor, io parto, e sento nel partire al penar, al morire, ch'io parto da colei ch'è la mia vita, se ben ella gioisce quand'il mio cor languisce. O durezza incredibil'e infinita d'anima che 'l suo core può restar morto, e non sentir dolore! Ben mi trafigge amore l'aspra mia pen', il mio dolor pungente, ma più mi duol il duol ch'ella non sente. Translation (by Flavio Ferri Benedetti): Love, I depart, and I feel while I part, while I suffer and while I die, that I part from her who is my life, although she rejoices when my heart languishes. O incredible, endless harshness of the soul: her heart can die without feeling pain! Love pierces well my bitter pain and my sharp grief, but even more painful is the grief that she does not feel.
https://wn.com/Giulio_Caccini_Amor,_Io_Parto_Montserrat_Figueras
FRANCESCA CACCINI, 'Ch'Amor sia nudo, e pur com l'ali al tergo' (Il primo libro delle Musiche)

FRANCESCA CACCINI, 'Ch'Amor sia nudo, e pur com l'ali al tergo' (Il primo libro delle Musiche)

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  • Duration: 3:22
  • Updated: 27 Feb 2015
  • views: 3149
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- FRANCESCA CACCINI (18 September 1587 † after 1641) http://en.wikipedia.org/wiki/Francesca_Cacciniwas SECULAR SONGS FRANCESCA CACCINI, Italian Composer, Singer, Lutenist, Poet, and Music Teacher of the early Baroque era, was also known by the nickname "La Cecchina", originally given to her by the Florentines and probably a diminutive of "Francesca". She was the daughter of Giulio Caccini, and was one of the best-known and most influential female European composers between Hildegard of Bingen in the 12th century and the 19th century. Her stage work, 'La liberazione di Ruggiero', has been widely considered the first Opera by a woman composer. Francesca, who assumed an important role in the seventeenth century as a Voice Teacher in the Medici Court, also developed a compendium of contemporary styles, ranging from intensely moving, harmonically adventurous laments to joyful sacred songs in Italian and Latin, to witty strophic songs about the joys and perils of romantic Love; 'Il primo libro delle musiche', is a collection of thirty-six solo songs and soprano-bass duets, as a pedagogic material for singers published in 1618 and dedicated to her patron the Cardinal de' Medici (1596 † 1666). Very little of her music survives. Most of her stage music was composed for performance in comedies by Poet Michelangelo Buonarroti The Younger (grand-nephew of the artist) such as 'La Tancia' (1613), 'Il passatempo' (1614) and 'La Fiera' (1619). She is believed to have been a quick and prolific Composer, equal in productivity to her court colleagues Jacopo Peri and Marco da Gagliano. 'Il Primo Libro Delle Musiche', 1618 'The Secular Monodies' CANZONATTA: 'Ch'Amor sia nudo, e pur com l'ali al tergo' Ch’Amor sia nudo, e pur con l’ali al tergo Stia sotto il sielo e non procuri albergo È vanità. Ma che per gli occhi egli dicend’ al petto Et ivi posi et ivi abbia ricetto È verità E ch’ei sia cieco, e che non mai rimiri Ove percota, e così l’arco tiri È vanità. Ma ch’apra il guardo, e senz’ alcuna beda E’ pigli mira, e quindi l’arco tenda È verità. Che fra mortali, e che fra cor celesti Leggier sen voli, e non gia mai s’arresti È vanità. Ma ch’ove posi un giorno sol le piume Eternamente abbia di star costume È verità. Et io mel so, che s’egli avvien ch’io nieghi, Cha uoi fier gioghi questo collo io pieghi È vanità. Ma s’io dirò, che ‘n amorose tempre, Et ardo, et arsi, et arderò mai sempre È verità. Vocal Soloist: Elena Cecchi Fedi, Soprano Ensemble: Cappella di Santa Maria degli Angiolini http://www.angiolini.biz/site/en Gian Luca Lastraioli, Conductor http://www.angiolini.biz/site/en/gian-luca-lastraioli/ The Pieces are titled variously Sonetto, Madrigale, Aria, Canzonatta, Psalme, Motetto, Hinno. A large number of these are based on the Romanesca ground bass. COURT OPERAS & DRAMATIC WORKS Francesca Caccini (1587 † after 1641) FIRENZE : La fiera (5 intermedi, Buonarroti), Florence, Palazzo Pitti, 11 Feb 1619) Giovanni Battista da Gagliano (1594-1651) & Francesca Caccini (1587-1637): Il martirio di S Agata (J. Cicognini), Florence, Compagnia di S Giorgio in Costa, 23 Jan 1622, [roles of S Agata and Eternità and minor women’s parts by Caccini] : Il ballo delle Zingane (balletto, F. Saracinelli), Florence, Palazzo Pitti, 24 Feb 1615 : La liberazione di Ruggiero dall’isola d’Alcina (prol., 4 scenes, Saracinelli, after L. Ariosto), Florence, Villa Poggio Imperiale, 3 Feb 1625 (Florence, 1625), ed. D. Silbert, SCMA, vii (1945) : Rinaldo innamorato (?commissioned 1626, MS, formerly owned by G. Baini, lost) : S Sigismondo (?commissioned 1626) [: 'Il Primo Libro Delle Musiche', 1618, 'The Secular Monodies'] PISA: : La stiava (Pisa, 1607, Lib. Buonarroti II) -
https://wn.com/Francesca_Caccini,_'Ch'Amor_Sia_Nudo,_E_Pur_Com_L'Ali_Al_Tergo'_(Il_Primo_Libro_Delle_Musiche)
Udite, udite amanti

Udite, udite amanti

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  • Duration: 2:58
  • Updated: 07 Nov 2012
  • views: 2971
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Strophic canzonetta
https://wn.com/Udite,_Udite_Amanti
Rosetta by Antonio Zacara da Teramo: CWRU Medieval Ensemble

Rosetta by Antonio Zacara da Teramo: CWRU Medieval Ensemble

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  • Duration: 4:02
  • Updated: 12 Nov 2015
  • views: 307
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Cynthia Black & Karin Cuellar Rendon, vielles Instrumental ballata from the program, “The Beginning of Joy: Italian Music of the Late Middle Ages,” Harkness Chapel, October 31, 2015. CWRU Medieval Ensemble, Ross W. Duffin, director; Shira Kammen, guest artist & director.
https://wn.com/Rosetta_By_Antonio_Zacara_Da_Teramo_Cwru_Medieval_Ensemble
L'Euridice by Giulio Caccini

L'Euridice by Giulio Caccini

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  • Duration: 4:02
  • Updated: 23 Aug 2013
  • views: 1971
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Innsbrucker Festwochen der Alten Musik 2013 Euridice, Tragedia Silvia Frigato (soprano) Orfeo Furio Zanasi (baritone) Dafne, Proserpina Sara Mingardo (alto) Venere Monica Piccinini (soprano) Arcetro Giampaolo Fagotto (tenor) Plutone Antonio Abete (bass) Aminta, Tirsi Luca Dordolo (tenor) Caronte Mauro Borgioni (baritone) Radamanto Matteo Bellotto (bass) Choir and instrumental ensemble Concerto Italiano Musical director and harpsichord Rinaldo Alessandrini Stage director and costumes Hinrich Horstkotte Stage design Nicolas Bovey Composta in Musica in Stile Rappresentativo by Giulio Caccini (1551--1618) Libretto by Ottavio Rinuccini Thirst printed version: 1600 Premiere: 1602, Florence In an attempt to revive classical Greek tragedy, the opera genre came into being around 1600 in the Florentine Camerata. Some of the recitative singing in Caccini's "L'Euridice", the first opera ever to be printed, merged into early little arias. The then common practice of polyphonic madrigals continued in scenes with strophic choruses. The pioneering work will be brought to life by Rinaldo Alessandrini and his Concerto Italiano in Innsbruck.
https://wn.com/L'Euridice_By_Giulio_Caccini
Trip-Hop- Thievery Corporation - Until The Morning

Trip-Hop- Thievery Corporation - Until The Morning

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  • Duration: 3:59
  • Updated: 14 Jul 2012
  • views: 3935
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I keep on fear, keep on loathing Nothing brings it on I keep on falling Decide what it is I can not find It subsides what you make it Never feel like you're gonna break, ye It's gonna be alright alright Sleep until the morning comes The sun will warm your soul Sleep until the morning comes for you Til the morning it's alright I can walk into the sunlight, into the day, into the day, to the day I feel it falling, nothing comes to my mind Bring it on in a different tide I feel alright, alright I feel strong, i feel rigid It's nothing to do with the vision Oh feels so right, so right Sleep on tight, sleep on tight Sleep until the sunlight Sleep until sunlight Sleep on tight Sleep on tight Sleep on tight Sleep on tight, til the sunlight Sleep on tight, til the sunlight burns you happy Til the sunlight burns you happy, till the sunlight burns a happy hole in Your heart, In your heart In your heart... Trip-Hop Music- Thievery Corporation - Until The Morning Trip-Hop Music- Thievery Corporation - Until The Morning Trip-Hop Music- Thievery Corporation - Until The Morning
https://wn.com/Trip_Hop_Thievery_Corporation_Until_The_Morning
Bam Circa 86 - BANDANNAZ

Bam Circa 86 - BANDANNAZ

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  • Duration: 3:36
  • Updated: 07 Sep 2012
  • views: 1167
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Album: VSOP (Versez Sans Oublier Personne) http://bamcirca86.bandcamp.com/album/vsop-versez-sans-oublier-personne
https://wn.com/Bam_Circa_86_Bandannaz
Sad, but Beautiful Music

Sad, but Beautiful Music

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  • Duration: 1:45
  • Updated: 28 Aug 2013
  • views: 307
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A sad, but very heart touching music! Subscribe: youtube.com/user/610fatima New Video every Friday, so check out! Read my blog: http://sadmusic1.blogspot.ca/2013/08/hello-everyone-this-is-just-very-quick.html Ending by: dreamscence.org
https://wn.com/Sad,_But_Beautiful_Music
Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

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  • Duration: 2:05
  • Updated: 17 Mar 2014
  • views: 515
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On February 16 2014, P.S. Montreal and Cath.A.Strophic Productions held a model casting for the upcoming "Love the Skin You're In" Fashion show, to be held on April 26th 2014. Video by My 11.11 Productions (http://vimeo.com/user9827590 and https://www.facebook.com/pages/My-1111-Productions/121926871224698) Event details: https://www.facebook.com/events/1407674952822464/ Event tickets: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Special thank you to our judging panel and volunteers: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmed at Shift Space (http://www.shiftspace.ca/) ***** Le 16 Février 2014, P.S. Montréal et Cath.A.Strophic Productions ont tenu une casting de modèle pour la prochaine défilé de mode, "Love the Skin You're In" qui se tiendra le 26 Avril 2014. Vidéo par My 11.11 Productions (http://vimeo.com/user9827590 et https://www.facebook.com/pages/My-1111-Productions/121926871224698) Détails d'événement: https://www.facebook.com/events/1407674952822464/ Billets d'événement: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Merci spécial à notre panel de juges: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmé au Shift Space (http://www.shiftspace.ca/)
https://wn.com/Casting_Love_The_Skin_You're_In_Un_Evenement_De_Mode_Taille_Forte_A_Plus_Size_Fashion_Event
Silent Night (with lyrics)

Silent Night (with lyrics)

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  • Duration: 2:57
  • Updated: 14 Dec 2008
  • views: 24008539
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https://wn.com/Silent_Night_(With_Lyrics)
Enemiga le soy madre (Cancionero de Palacio)

Enemiga le soy madre (Cancionero de Palacio)

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  • Duration: 0:59
  • Updated: 22 May 2010
  • views: 3454
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Cancionero de Palacio "Enemiga le soy madre" Juan de Espinosa Enemiga le soy, madre, a aquel cavallero yo. ¡mal enemiga le soy! En mí contempla y adora como a Dios que l'es testigo. Él me tiene por señora, yo a él por enemigo. Dos mil vezes le maldigo por lo cual no mereçío. ¡Mal enemiga le soy! The early-16th-century manuscript Cancionero de Palacio is a true musical treasure trove: it contains some 450 songs from the Madrid court, dating from the 15th and early 16th century. Most of these were composed by Juan del Encina (1468-1530), even though he was not officially related to the court. Most pieces in the Cancionero belong to the villancico genre, a folksy refrain song that could take its subject matter from almost every aspect of life, among which love or the lack thereof obviously take first position. Also included are romances, longer strophic songs of a more serious character, like Ques de ti desconsolado, singing of the fall of Granada. Performers: Ensemble Gilles Binchois
https://wn.com/Enemiga_Le_Soy_Madre_(Cancionero_De_Palacio)
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