The aim of Early Music Source is to simplify the access to the vast amount of sources dealing with early music. It contains bibliographical lists in the different fields of early music. Our RU-vid videos discuss interesting subjects related to early music.
Nice video! Here you can listen to a piece I wrote, which is based on a fragment of this chanson by Josquin, I hope you will enjoy it ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XmdB1Z0o2mQ.htmlsi=1JRjCmIS9eDWqx_L
Well now I'm proud of myself - I looked up the manuscript and transcribed 'La Monica' so I can play it with other people. Thanks for spreading the gospel!
My personal opinion Orpheo / Orphee ( Orpheus) is The Greek version of Romeo & Juliet How can this work by Monteverdi that opened stsge centre Doors not be full of Tragic Emotion.. Every Singing Voice is filled with Varions affectations.. Emotional nuancest
Always fascinating, thank you for another wonderful video, and the choice performance of La Monica. I remember the first time I heard an all-female ensemble performing music written by a 17C nun - I think it was Chiara Cozzolani, but I was unable to find the recording at the time and have since forgotten who made it. The sound of the ensemble was quite unlike anything I'd heard, a really special sonority with women singing such low parts.
Likely as not it was one of the recordings by the Bologna-based ensemble Cappella Artemisia, for many years *the* standard-bearer for music composed by and for nuns.
Very interesting history and analysis! I've lived through much of the authenticity craze but never knew of Hindemith's pioneering work in it. Authenticity for music's sake is one thing, maniacal faddism is another. The latter has often resulted in a negation of beauty and normalcy. In the 1970s the great Landowska was low-rated for using a large Pleyel harpsichord -- never mind the fact that she had played it divinely. The push for period smallness is a minefield. The Philadelphia Orchestra isn't the proper medium for Renaissance music but too skeletal a sound is ridiculous. Some scholars used to maintained that the organ had been a chamber instrument up through the baroque era -- never mind the large stoplists remaining from back then. In the 1980s Joshua Rifkin posited that the great baroque choral works were intended to be sung only one voice per part! He was taken seriously, but not for long. Also in the 80s a magnificent recorder player I worked with in "early" music switched from a perfectly musical vibrato to the straight tone "headache" effect. Then our solo violist did -- awful. Only one side of the question has been allowed, i.e. how "early" music sounded originally. Asking what modern ears would have thought of music performed on original instruments 100-200 year's before Bach's WTC was verboten, ditto considering what the old composers would have done with our fuller and more advanced resources -- something you touch on here. Joel Cohen's Boston Camerata of like 45 years ago has always struck me as both very "authentic-sounding" and musically entrancing. He really "broke on through to the other side!" On tour in Europe my college classmates went to hear Harnoncourt's Monteverdi in person -- I didn't, something to regret forever.
Great Videos I truly learned a lot! I'd be interested in a video about invertible counterpoint not only at the octave but also at the fifth and how to use it in 4 or 3 part improvisation/composition. I've seen that Zarlino writes about it and I found two pieces by Tallis (the two felix nanques from the William virginal book) that uses it and I think I get the basic structure but I don't understand the little changes to fit the mode.
Elam, check out Ignazio Sieber's recorder sonata VII, movement 3. You will find more Neapolitan cadences there per bar of music than... anywhere else, I think. Enjoy! Uri
Great video on all accounts! Thank you. I'm interested in the genesis of ornamentation. Does it come from a spontaneous impulse to enhance textual and musical meaning in the mind of the performer? Or, an exhibition of simple joy or passion in the moment? When we are playing from a piece with ornaments notated, might we exercise some freedom to add or change or ignore these in the moment? In my experience, a sympathetic study of, or reflection, upon the poetry will underlie my engagement and sense of timing and note placement of composed or improvised ornamention. Elam's discussion helps free up our imagination to respond to music in new ways. ... Or, something like that!
I love this episode too ! I've just heard about a very famous nun compser Francisca Apomayta in her convent Sta Clara in Cochabamba (Bolivia) with the ensemble "Comet Musick" in very nice concert 🤩
I hope everyone realizes that not all nuns were cloistered. Most religious orders had vocations to work "outside". Whether it be tending to the sick, helping a poor family, catechizing the faithful, or many other things.
Unfortunately, at the end there is only theory in words - and the music shown does not sound! Elam tells us to enjoy. I did intellectually, but not musically in the full sense of then listening (to the Palestrina, but also to the short piece before that). Please amend! And put out a full version with the music to listen to, after it has been analysed!
I've created a RU-vid playlist entitled "New music for early instruments," which includes music composed in both period and non-period styles. ru-vid.com/group/PLm8mLM41EccA2lhviZ1brd_lsKT-P43Hf
Hi Guys. You have a fan here. Excellent work. May I suggest a chapter dedicated to the Ciaccona? Its origins, ramifications, controversies and influence all the way to Brahms and beyond? Thanks and keep up with the good work
Regarding the low female voices this female-only recording of Vivaldis Gloria at La Pieta is quite interesting: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cgaOVV4JQHA.html
What about religious places like the Ospedale della Pietá in Venice where Vivaldi taught, composed and conducted the all girl choir and orchestra there? The orchestra and choir were considered to be the best in Venice. Nuns and older members of the Coro taught the newer girls. How did this square with the information you presented in this fascinating video?
