3. Banchieri: Festino nella sera del Giovedi Grasso
- Length: 1:23
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Stereo: http://br.youtube.com/watch?v=gcx02C1ei9k&fmt=18Adriano Banchieri (1568 - 1634).Festino nella sera del Giovedì Grasso avanti Cena:III. Contraponto bestiale alla mente.Concerto Italiano.Dir: Rinaldo Alessandrini.Adriano Banchieri was an Italian composer, music theorist, organist and poet of the late Renaissance and early Baroque eras. He founded the Accademia dei Floridi in Bologna.He was born and died in Bologna. In 1587 he became a monk of the Benedictine order, taking his vows in 1590, and changing his name to Adriano (from Tommaso). One of his teachers at the monastery was Gioseffo Guami, who had a strong influence on his style.Like Orazio Vecchi he was interested in converting the madrigal to dramatic purposes. Specifically, he was one of the developers of a form called "madrigal comedy" - unstaged but dramatic collections of madrigals which, when sung consecutively, told a story. Formerly, madrigal comedy was considered to be one of the important precursors to opera, but most music scholars now see it as a separate development, part of a general interest in Italy at the time in creating musico-dramatic forms. In addition, he was an important composer of canzonettas, a lighter and hugely popular alternative to the madrigal in the late 16th century. Banchieri disapproved of the monodists with all their revolutionary harmonic tendencies, about which he expressed himself vigorously in his Moderna Practica Musicale (1613), while systematizing the legitimate use of the monodic art of figured bass.In several editions beginning in 1605 (reprinted at least six times before 1638), Banchieri published a series of organ works entitled l'Organo suonarino.Banchieri's last publication was the Trattenimenti da villa of 1630. According to Farahat, he wrote five madrigal comedies between 1598 and 1628 with "plot and character development", starting with La pazzia senile of 1598, the last of them La saviezza giovenile.
2. Banchieri: Festino nella sera del Giovedi Grasso
- Length: 1:47
- Rating: 5.00 (3 ratings)
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Stereo: http://br.youtube.com/watch?v=tlpN8lJz7As&fmt=18Adriano Banchieri (1568 - 1634).Festino nella sera del Giovedì Grasso avanti Cena:II. Justiniana Di Vecchietti Chiozzotti.Concerto Italiano.Dir: Rinaldo Alessandrini.Adriano Banchieri was an Italian composer, music theorist, organist and poet of the late Renaissance and early Baroque eras. He founded the Accademia dei Floridi in Bologna.He was born and died in Bologna. In 1587 he became a monk of the Benedictine order, taking his vows in 1590, and changing his name to Adriano (from Tommaso). One of his teachers at the monastery was Gioseffo Guami, who had a strong influence on his style.Like Orazio Vecchi he was interested in converting the madrigal to dramatic purposes. Specifically, he was one of the developers of a form called "madrigal comedy" - unstaged but dramatic collections of madrigals which, when sung consecutively, told a story. Formerly, madrigal comedy was considered to be one of the important precursors to opera, but most music scholars now see it as a separate development, part of a general interest in Italy at the time in creating musico-dramatic forms. In addition, he was an important composer of canzonettas, a lighter and hugely popular alternative to the madrigal in the late 16th century. Banchieri disapproved of the monodists with all their revolutionary harmonic tendencies, about which he expressed himself vigorously in his Moderna Practica Musicale (1613), while systematizing the legitimate use of the monodic art of figured bass.In several editions beginning in 1605 (reprinted at least six times before 1638), Banchieri published a series of organ works entitled l'Organo suonarino.Banchieri's last publication was the Trattenimenti da villa of 1630. According to Farahat, he wrote five madrigal comedies between 1598 and 1628 with "plot and character development", starting with La pazzia senile of 1598, the last of them La saviezza giovenile.
1. Banchieri: Festino nella sera del Giovedì Grasso
- Length: 0:51
- Rating: 5.00 (2 ratings)
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- Author: OedipusColoneus
Tags: Alessandrini avanti Banchieri cena Concerto del Festino Giovedi Grasso Italiano nella Rinaldo sera
Adriano Banchieri (1568 - 1634).Festino nella sera del Giovedì Grasso avanti Cena:I. Il diletto moderno per introduzione.Concerto Italiano.Dir: Rinaldo Alessandrini.Adriano Banchieri was an Italian composer, music theorist, organist and poet of the late Renaissance and early Baroque eras. He founded the Accademia dei Floridi in Bologna.He was born and died in Bologna. In 1587 he became a monk of the Benedictine order, taking his vows in 1590, and changing his name to Adriano (from Tommaso). One of his teachers at the monastery was Gioseffo Guami, who had a strong influence on his style.Like Orazio Vecchi he was interested in converting the madrigal to dramatic purposes. Specifically, he was one of the developers of a form called "madrigal comedy" - unstaged but dramatic collections of madrigals which, when sung consecutively, told a story. Formerly, madrigal comedy was considered to be one of the important precursors to opera, but most music scholars now see it as a separate development, part of a general interest in Italy at the time in creating musico-dramatic forms. In addition, he was an important composer of canzonettas, a lighter and hugely popular alternative to the madrigal in the late 16th century. Banchieri disapproved of the monodists with all their revolutionary harmonic tendencies, about which he expressed himself vigorously in his Moderna Practica Musicale (1613), while systematizing the legitimate use of the monodic art of figured bass.In several editions beginning in 1605 (reprinted at least six times before 1638), Banchieri published a series of organ works entitled l'Organo suonarino.Banchieri's last publication was the Trattenimenti da villa of 1630. According to Farahat, he wrote five madrigal comedies between 1598 and 1628 with "plot and character development", starting with La pazzia senile of 1598, the last of them La saviezza giovenile.
Desprez: Missa Hercules Dux Ferrariae
- Length: 2:13
- Rating: 4.60 (5 ratings)
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Tags: Bernard Desprez Dux Fabre Ferrariae Garrus Hercules Missa Sei Voci
Stereo: http://br.youtube.com/watch?v=F2pA5i3KQlU&fmt=18Josquin Desprez (1450 to 1455 - 1521).Missa Hercules Dux Ferrariae.1. Kyrie.A Sei Voci.Dir: Bernard Fabre Garrus.To Gustavo.Josquin des Prez (c. 1450 to 1455 - August 27, 1521), often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. He is also known as Josquin Desprez, a French rendering of Dutch "Josken Van De Velde", diminutive of "Joseph Van De Velde" ("of the fields"), and Latinized as Josquinus Pratensis, alternatively Jodocus Pratensis. He was the most famous European composer between Guillaume Dufay and Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime.During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame; theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. At least 374 works are attributed to him; it was only after the advent of modern analytical scholarship that some of these mistaken attributions have been challenged, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and we know next to nothing about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of minor composers of the Renaissance are better documented than the life of Josquin.Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of ingenious technical devices. In modern times, scholars have attempted to ascertain the basic details of his biography, and have tried to define the key characteristics of his style to correct misattributions, a task that has proved difficult. Josquin liked to solve compositional problems in different ways in successive compositions, as did Stravinsky more than 400 years later. Sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity. Heinrich Glarean wrote in 1547 that Josquin was not only a "magnificent virtuoso" (the Latin can be translated also as "show-off") but capable of being a "mocker", using satire effectively. While the focus of scholarship in recent years has been to remove music from the "Josquin canon", including some of his most famous pieces, and to reattribute it to his contemporaries, the remaining music represents some of the most famous and enduring of the Renaissance.
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