Recorder ensemble
Aeolian Consort
The fifth regular Consert
--- Fiori musicali ---
--- Polyphony Music of the Renaissance and Baroque Periods ---
2009 / December / 20 (Sun)
Chiba girls' vocational school Grand Hall
Acknowledgements
Thank you very much for coming to the 5th Regular Concert of the Aeolian Consort. Thank you very much for coming to our 5th annual concert. The Aeolian Consort is a recorder ensemble of six members. The Aeolian Consort is a six-member recorder ensemble. We have been performing choral and instrumental music from the Renaissance and Baroque periods. We have been performing choral and instrumental music from the Renaissance and Baroque eras. We are not always as good as we would like to be, but our love and enthusiasm for music is unmatched by any other group. I am proud to say that my love and enthusiasm for music are second to none. This time, Mr. Wataru Yoshioka joined us as a reliable helper. Mr. Wataru Yoshioka will be joining us this time as a reliable helper.
We have been composing our regular concert program with a little twist to each concert, but this time we will be presenting the "Music Flower This time, under the title of "Bouquet of Music," we have put together five bouquets of music that seem to be related to each other. I have tried to make a bouquet of five flowers. I hope the flowers will bloom beautifully.
It was originally an organ piece set with a fugue. I wanted to use it as a bouquet, but I gave up on the fugue because it was not suitable for the recorder. It is called "Doric" to distinguish it from the famous piece of the same name in D minor, but it is a pure D minor piece. It is named according to the Doric notation, which is notated with one less flat than the key.
2. bouquet 1 "De tous biens playne"(The boyfriend I fell in love with had all the best parts.)
I have arranged them from manuscripts and published scores from the end of the 15th and beginning of the 16th century. The chansons are combined with one of the arrangements of the original songs.
(a) “O Genitrix gloriosa”(Loyset Compere)
The motet was taken from a collection of motets published in 1502 by the Venetian publisher O. Petrucci. Compère was a composer from the north of France. Compere was a composer from northern France. He worked in Italy and France.
It was very popular at the time and there are several arranged versions. The original is a simple three-voice piece. Wolfenbűtteler Chansonnier in Wolfenbüttel, North Germany. The following picture is the melody part from a 15th century manuscript (Wolfenbűtteler Chansonnier) in Wolfenbütteler, Northern Germany. The picture below is the melody part. Japar's four-voice arrangement was published by Petrucci in 1504. The melody is the same, but there are other chansons in the same arrangement. The melody is the same, but the other parts are very different. The melody is the same, but the rest of the song is very different. Japart was a French-born composer who worked mainly in Italy.
It was the most popular song of its time, and more than 20 arrangements of it have survived. The original is also available in several manuscripts, each with slight differences, but this time I will use the Copenhagen manuscript (Le Chansonnier de Copenhague). The photo shows its melody lines. Heezeghem was from Belgium and worked in Burgundy. For the arranged version, I chose the one from Petrucci's "Hundred Chansons" from among many.
The upper two voices are exactly the same as the original, but the third voice is a half beat off from the original, as in "Canon Petrus e Ioannes currunt In puncto" (Peter and John are chasing each other by a narrow margin) below.
Published in 1635, "A Bouquet of Music" is a collection of 47 pieces for organ for use as inserts between masses. I have chosen two pieces for this concert. The first piece, Recercar, as the subtitle suggests, has an additional independent fixed melody in addition to the four-voice score (see below). It is not specified where to put it, and it is a quiz. Bergamasca is a normal four-voice piece that alternates between two and three beats, similar to a canzon.
This is the most frequently performed major work by the Spanish composer Cabanilles. It is a four-part piece in four beats - three beats - three beats - three beats - four beats. Cavanilles is not well known yet, but he deserves more recognition.
5. "Bouquet 3" Babylon Set
The chorale was first published in Strasbourg in 1526 and is a favorite of many composers. I have selected three pieces that I liked. The score below is Bach's version.
Tschachow was active in Halle and is known as Handel's teacher. The original is a four-voice organ chorale. Tunder was Buxtehude's predecessor as music director in Lübeck. The original is a soprano solo with five gambas accompaniment.
The last piece by Bach was taken from a basic four-voice chorale. The last piece by Bach is a basic four-voice chorale, and (a) and (c) are performed by all seven members of the ensemble with various instruments.
6. <Bouquet 4> Pavan and ...... In Nomine!?
If you come to Pavan, Gaillarde is the next standard, but this time we are pairing it with In Nomine. In our case, we always include In Nomine in our programs, so this is fine.
Ferrabosco, a composer of the Stuart period in England, has many masterpieces, but I think this Pavan is one of his best. As the subtitle suggests, the clarity and richness of the repetition of the fixed four-note form is superb. In Nomine, the soprano is given a fixed melody, which is unusual.
The closing piece is also by Bach, who does all of his masterpiece, first performed in May 1725, with the exception of the third recitative.
The impressive chorale melody of the opening chorus (score below) is included in a chant book published in Leipzig in 1682 (unfortunately, I have not seen it). Perhaps because it is a new melody, there are no other examples of its use outside of this piece that I know of.
I am not aware of any other use of this melody.
The second and fourth pieces are adaptations of arias from the "Hunting Cantata" BWV 208. The tenor obbligato in the second piece was a bass continuo in the original. The soprano melody is replaced by a completely different one. The fourth piece is a bass aria with three oboes as in the original. However, the first half is almost the same as the original, but the second half is quite different.
The final chorus is a double fugue. It is a little strange that the chorus ends abruptly even though there should be a four-part chorale after this chorus. It is a little strange because the chorale ends abruptly. Compositionally speaking, the five pieces are arranged symmetrically, which I agree with.