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Special order. This item is a special order that could take a long time to obtain. Description Details Customer Reviews This is the first full-length survey in English of the music of the Flemish composer Orlando di Lasso, one of the most important musical figures of the later s. Eleven essays discuss Lasso's sacred and secular music from many perspectives, including close analysis of the music as well as broader considerations of its position in society, commerce, and liturgy.
The influence of Lasso's music on other composers is another major theme in the book. Voria lo basso far col violone, 2 Tutto di contraponto alla spagnola, E che dicessi: fa mi la mi so la. Voria toccassi sempre di bordone, 3 23 I would like you to sing a song, While you are playing the viol for me, And for you to say: fa mi la mi so la. I would like to make the bass part with the violone, All of counterpoint in the Spanish style, And for you to say: fa mi la mi so la. Example 4. Dorico, , no. Cantus from ed.
RISM , no. XVI , bass reconstructed 73 d o n na g.
Orlando Di Lasso Studies
And for you to say: fa mi la mi so la. All night long: la sol fa re mi re. II Like the struggling writers residing in Rome during the s, young composers faced a competitive environment in respect to attracting subsidies for publications devoted exclusively to their works. Jane A. If Bruno was telling the truth, then under what circumstances would a friendly association with Lasso evolve?
For instance, Bruno was a collector who 27 28 29 For the original dedication, see Cusick, Valerio Dorico, p. For the original dedication, see SW, vol. Cusick, Valerio Dorico, pp. In spring , when Lasso realized he would have to leave Rome hurriedly to visit his ailing parents,he may have approached Bruno knowing that he made a habit of attending salons where his music circulated in manuscript copies. There is, in fact, virtually no evidence that composers took pains to keep their music out of the hands of editori, and it appears that Lasso himself trusted the Venetian editore, Giulio Bonagiunta, to see his second book of motets RISM c through the press.
However, the circumstances under which Gardano obtained the madrigals are puzzling.
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No earlier edition has ever been located, although a logical place of publication would have been Rome. See CM, vol. Ferrero, from a powerful noble house in Piedmont, became cardinal in after serving as papal legate to the court of Philip II and as papal nuncio in Venice. Having brought together certain madrigals by Orlando di Lassus, and desiring that such a sweet concept be made known to the world by bringing them to light, I thought it would be proper to dedicate them to you, most Illustrious and Reverend Signor, for two reasons.
First, I believe that all beautiful and virtuous works should be dedicated to you, because you encourage and support virtuous artists. Second, because by bringing them out under the name of such a kind, courteous, and generous Signor, they will be seen, read, and sung by virtuous persons with so much more pleasure.
Therefore most Illustrious Signor, deign to accept my very humble gift as a token of the faithful service and devotion that I bring you, and retain me for the most humble and devoted servant that I am, and in kissing your honorable hand, I pray that God may grant you all the happiness you desire. Rome, 15 January [recte ]. Most humble and devoted servant, Francesco Tracetti. For the original dedication, see Cusick, Valerio Dorico, pp.
Orlando Di Lasso Studies, Book by Peter Bergquist (Paperback) | keestaikrypda.tk
Cusick assumed the cardinal to be Charles de Guise, but after Charles was known as cardinal of Lorraine. His younger brother Louis took the title cardinal de Guise upon his elevation in Angelo, the district that Vigili represented. Bianca Maria Antolini et al.
Lucca: Libreria Musicale Italiana, , pp. But these are only attractive speculations. In turning to explore this matter, I shall stress reception of the Neapolitan genres Lasso and his companions cultivated while in Rome, contributing to the formation of a musical axis that ultimately extended to France. The protagonists are aristocratic lovers lamenting their separation by political exile, 39 40 Barre I, appointed Archbishop of Tours in See Gallia christiana in provincias ecclesiasticus distributa, ed.
These arie came to be popularly associated with the Prince and Princess of Salerno, who attracted public attention in when the prince was banished from the kingdom of Naples for defecting to France. Furthermore, the ravages and massacres committed by the Turks, then allies of the French, caused widespread consternation, and feverish preparations were made to fortify seaports throughout central and southern Italy. Mola was one of the few provincial cities in the kingdom of Naples with a musical academy, founded by Gasparro Toraldo, third marquis of Mola and Polignano.
Scipione Ammirato, Delle famiglie nobili napoletane Florence: G. Marescotti, , vol. Like many other persons named Giovan Francesco, he may have been familiarly known as Francesco. In Rome, for example, they were valued as exotica, yet subject to perpetual servitude by their masters. Typically the opening gesture of a moresca sets the scene for a serenade and then continues with episodes of singing and dancing which, in context, would have been read as metaphors for love-making. Pompeo Litta, Famiglie celebri italiane, 2nd series Naples: Richter, , s.
Biblioteca Vaticana, Cod. In Paul III was successfully petitioned to decree that Romans could keep their slaves in perpetuity. Scotto, RISM , pp. U - na, doi, e? Apri pressa, culac mia, Se voi senta mautinata. Gente nigra bo cantata: La sol fa re mi, Ut re mi fa sol la. Ni machida ginacache. Una, doi, e tre, La, la sol la,e Fa, fa mi re, Ut re mi fa sol la. Calia tauza cilum celumdini. Parmini zorfanata,f cia musata, licca pignata,g Cula pazzuta, musa caccata: Ut re mi fa sol la. Hurry up, open right now my rump, If you want to hear a morning song. The black man is going to sing: La sol fa re mi, Ut re mi fa sol la.
One, two, and three, La, la sol la, Fa, fa mi re, Ut re mi fa sol la. See Jean Toscan, Le carnaval du langage. Had these compatible spirits met in Rome and formed an ad hoc troupe specializing in vivacious genres of Neapolitan entertainment, then they would have found in Nola the ideal person to stylize their improvisations in three-part arrangements for public consumption.
Martino enjoy them, so that even he, through Your Excellency, may count me among his admirers, in whose grace I pray that he may always hold me, promising that we will soon send him some others.
Martin of Tours and a vital member of a clerical circle of collectors that included Jean du Moulin d. Knud Jeppesen, ed. A captivating lutenist-singer, Salerno introduced Neapolitan songs to the French court in and upon returning, he carried on a politicized musical discourse centered on the pair of laments mentioned earlier. Quite likely they emanated from the same circle of composers that formed around Lasso.
The most logical explanation for this turn of events would be the breaking up of coteries sponsored by persons with a vested interest in Neapolitan genres, and the dispersal of exiles and their supporters who had mobilized the rustic idioms to reinforce dynastic claims.
The genre came to be known collectively as the canzone, although other multi-stanza poetic forms such as the sestina and ottava rima were also set. See Maureen E.
Lasso, Orlando di
In two subsequent editions and , Scotto attributed the work to Arcadelt. There is no sense of novelty; conversation centers around some mistakes in the music. However, the attitude of those present suggests that the composition of entire canzone had been taking place for at least a little while before An earlier origin has been claimed for the canzoni of Rampollini, which Moderne printed in an undated edition. Antonfrancesco Doni, Dialogo della Musica, ed. Il primo libro de la musica di M. Mattio Rampollini. Francesco Petrarca. Lyons: Moderne, [n.
The older composer set the work not in six movements as Lasso did, butinseven,devotingtheseventhmovementtothecommiato. Despite its early publication history in Venice, compositionally the canzone was not really a Venetian phenomenon. Rather, its chief practitioners before appear to have been composers who worked at some time in Florence or Rome,as well as a group of musicians active in theVeneto,several of whom had professional connections at one time or another with the academies of the area.
He may have been in Rome before then, but the evidence for such a stay is slight. Frank A. Perhaps the academicians with whom the composers were associated objected to the practice of setting dismembered stanzas from larger poems. Perhaps the composers themselves felt limited by the small scale of the one- or two-part madrigal.
And perhaps they wished to experiment with the problems of organizing music over a longer time span. Producing a coherent setting of such long texts within the stylistic requirements of the madrigal posed a major compositional problem for composers. The multi-movement madrigal, however, had no thematic devices at its disposal. Its composers had to resort to other organizational means in building a large musical structure.