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Главная страница » 2013 » Апрель » 20 » The Royal Brass Music of King James 1, Морис Андре/ Maurice André, Thurston Dart, OL 50189, 1959
The Royal Brass Music of King James 1, Морис Андре/ Maurice André, Thurston Dart, OL 50189, 1959

Теги: Thurston Dart, Мори́с Андре́, Maurice ANDRÉ

The Royal Brass Music of King James 1, Maurice André, Jean Pirot, Труба / trompettes, Maurice Suzan, Henri Arqué, Camille Verdier, Bernard Gallot, trombones / Тромбон, direction: Thurston Dart, L'Oiseau-Lyre OL 50189, TT-451-2B, TT-452-2B, 1959


Another early LP with Maurice André!


A) 1. Thomas Simpson, Intrada (02:05), 2. James Harding, Almande (02:24), 3. Antony Holborne, The Fairy Round (1:51)


B) 4. Thomas Leetherland, Pavan (02:43), 5. Nicholas Guy, Almande no 13 (01:13), 6. Antony Holborne, The Choice (01:23)


C) 7. Jerome Bassano, Fantasia (02:39), 8. Giles Farnaby, Almande (02:14), 9. Antony Holborne, Galliard (02:31)


D) 10. Robert Johnson, Almande no 7 (01:15), 11. Antony Holborne, As it fell on a holy eve (01:22), 12. Giovanni Coperario, Fantasia no 76 (02:33), 13. Alfonso Ferrabosco II, Almande no 5 (1:10)


E) 14. Richard Dering, Fantasia (04:08), 15. Thomas Lupo, Almande (01:22), 16. Anthony Bassano, Pavan no 16 (03:18)


F) 17. Anthony Holborne, The fruit of love (03:10), 18. Alfonso Ferrabosco II, Pavan (01:24), 19. Alfonso Ferrabosco II, Alman (02:17)


more, on french/english (with alternative download rapidshare and filefactory):

http://www.renegagnaux.ch/458378/470478.html



Мори́с Андре́ / Maurice André: http://ru.wikipedia.org/wiki/%D0%90%D0%BD%D0%B4%D1%80%D0%B5,_%D0%9C%D0%BE%D1%80%D0%B8%D1%81


Thurston Dart (3 September 1921 – 6 March 1971) – английский музыковед, дирижер и клавирист. Был профессором музыки в King's College (Лондон) и в Кембриджском университете. Активно способствовал возрождению старинной музыки.


Сделал много записей на клавесине, клавикорде и органе (особенно на лейбле L'Oiseau-Lyre) и выступал как дирижер.


Среди учеников Дарта композитор Майкл Найман и дирижеры Джон Гардинер и Кристофер Хогвуд. Сделал одну из первых аутентичных записей Бранденбургских концертов с Philhomusica of London (http://www.bach-cantatas.com/Bio/POL.htm). Консультировал Невилла Марринера. (Александр (Trompete))


more -> http://en.wikipedia.org/wiki/Thurston_Dart

-> http://www.bach-cantatas.com/Bio/Dart-Thurston.htm

-> http://gregholt.co.uk/rtd.htm


About the works, Thurston Dart, on LP cover Oiseau-Lyre OL 50 189:

"[...] Though the history of the Royal Wind Music of the English monarchy has still to be written, it is possible to outline how it developed from the time of Henry VIII onwards.


Like every Renaissance prince, King Henry employed a large corps of trumpeters (although their repertory must have been limited to fanfares of various kinds, since they only played natural trumpets: we do not hear of chromatic trumpets in England before the closing years of the seventeenth century). In addition he appears to have had a group of four recorder-players, another quartet of flautists, and a third quartet who played on a broken consort consisting of one shawm (early oboe) and three sackbuts (trombones). Many of these musicians were expert players of other wind instruments belonging to King Henry's magnificent collection, so that the sounds of whole consorts of cornetts, crumhoms, shawms, fifes, dulceuses (a kind of early bassoon) and bagpipes were also heard at his court.

During the reigns of Henry's three children, Edward VI, Mary I and Elizabeth I, a number of these families of instruments seem to have passed out of fashion, yet at the accession of King James I in 1603 the Royal Wind Music still comprised a large corps of trumpets, a consort of six recorder-players, a consort of six flautists, and a broken consort of shawms and sackbuts. Evidently some of these players continued to be expert on other instruments, such as the cornett or the double sackbut.

During the king's reign his wind musicians increased in number, but their groupings seem to have changed somewhat. By the time his son came to the throne in 1625 as King Charles I, the Royal Wind Music seems to have consisted of trumpets (as before) and two equal groups, each consisting of five sackbuts, one double sackbut (bass trombone) and four players of treble wind instruments (cornetts, shawms, recorders, or flutes). On great occasions both groups joined to make one band of tweaty musicians; and by 1625 the agile, clear-toned cornett had become the regular treble to the consorts ot sackbuts, in preference to the coarser-sounding shawm. The cornett itself, a wooden instrument with a narrow cortical bore, finger-holes, and a cup mouthpiece, has unfortunately been obsolete for more than two centuries, though during the past ten years a few musicians have set about trying to revive its special techniques of construction and performance.


What sort of music did this twenty-piece band of cornetts and sackbuts play before their king, James I? Until recently the band's repertory was thought to have perished, but a set of manuscript partbooks belonging to the Fitzwilliam Museum has proved to contain some sixty pieces of six-part music composed for this royal band. The manuscripts have been scored by Trevor Jones, and I have reconstructed the missing part (one of the six part-books was lacking when the volumes were purchased by the Museum).


Eight of the pieces on the present disc are taken from this set; some of them are about to be published by the Oxford University Press.


Of the remaining eleven pieces, five are from Antony Holborne's splendid collection of five-part dances printed in London in 1599; some of these, too, will shortly be published by O.U.P. Holborne's title-page makes it clear that his music was suitable for consorts of wind instruments. The pavans by Leetherland and Ferrabosco, the fantasies by Coperario and Dering, and the alman by Ferrabosco are taken from volume IX of Musica Britannica ('Jacobean Consort Music': Stainer & Bell), their selection being based on the characteristic features of the Fitzwilliam pieces. The Intrada by Simpson has been transcribed from his Opus newer Paduanen (Hamburg, 1617) and is particularly suited to wind instruments.


James Harding, Nicholas Guy and the English-bom Bassano were all members of the Royal Wind Music of King James I. Alfonso Ferrabosco II, Robert Johnson, Thomas Lupo and Giovanni Coperario (John Cooper) belonged to his Private Musick - that is to say, his personal chamber music ensemble. Antony Holborne was a Gentleman Usher to Queen Elizabeth I, and a friend of Giles Farnaby (who was probably a London instrument-maker); Richard Dering became organist to Charles I's queen, Henrietta Maria; and Thomas Simpson spent most of his life on the continent of Europe at the courts of the Elector Palatine, the Count of Holstein-Schaumburg and King Christian IV of Denmark.


Nothing is known of Thomas Leetherland beyond his name and this uniquely excellent composition.


The music has been recorded in France by an ensemble of two trumpets and four trombones. The modern French trumpet in C with its fully chromatic compass is a good substitute for the cornett, though its tone is more brassy and assertive. The modern trombone scarcely differs at all from the older sackbut; but since the alto trombone is now obsolete, its part bas been played on a tenor trombone.


The nineteen pieces have been arranged to provide suitable contrasts of mood, key, texture and rhythm. None of them, to my knowledge, has been recorded before. They reveal a new and unexpected aspect of the astonishingly rich contribution made by English musicians of the time of King James I to the repertory of the public and private chamber music. These men, contemporaries of Giovanni Gabrieli and Claudio Monteverdi, are seldom mentioned in the history books, and their huge output is little known. Both of the Venetian masters composed a number of sonatas and canzonas for wind consort; yet the repertory of the Royal Brass Music of King James I is far larger, no less original, and not so narrow in style. Its roots lie in the court of Henry VII; its last flowering is to be found more than two centuries later in Handel's Music for the Royal Fireworks.[...]" Thurston Dart, on LP cover Oiseau-Lyre OL 50 189

ONE ZIP file (106 MB) with 19 FLAC files, 2 CUE files and 1 PDF file

http://files.mail.ru/C73E0C37B3DC48B3BAE2C7C845701269


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Всего комментариев: 4
1. Сильвио (komponist)   (20 Апреля 13 17:47)
swoon Thanks for another glorious rarity!
appl respect appl

2. почитатель (kubra)   (20 Апреля 13 19:52)
На мой вкус, сыграно довольно пёстро в смысле интонации (как индивидуальной, так и ансамблевой - особенно огорчает своим "качанием" бас-тромбон) и неединообразной аттаки звука. Конечно, это можно отнести за счёт того, что здесь играет не регулярный ансамбль, как некоторые брасс-квинтеты более позднего времени, а собравшиеся вместе на один проект солисты. Но всё же могли бы и получше позаниматься. И уж во всяком случае, другого бас-тромбониста пригласить.

Уважаемый Рене, спасибо за возможность ознакомления.

Auf meinen Geschmack, es wurde intonatorisch ziemlich bunt gespielt (sowohl individuell betrachtet, als auch im Ensemble - besonders stört die Bass-Posaune mit ihrem "Schaukeln"), und die Klang-Attacca ist auch unhomogen. Natürlich, kann man das darauf zurückführen, dass hier kein regelmässiges Ensenble spielt, wie einige Blechbläserquintette späterer Zeit, sondern sich für ein Projekt zusammengetane Solisten. Trotzdem hätte man besser üben sollen. Und in jedem Falle, einen anderen Bass-Posaunisten engagieren.

Lieber René, danke für die Anhörensgelegenheit.

3. (MuseeMusical)   (20 Апреля 13 21:20)
Lieber kubra

Vielen Dank für die sehr interessanten - und zutreffenden - Kommentare! :D

4. Михаил Стуков (KLOPF)   (21 Апреля 13 08:32)
Grossen Danke

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