Related Research Articles
John Dowland was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as "Come, heavy sleep", "Come again", "Flow my tears", "I saw my Lady weepe", "Now o now I needs must part" and "In darkness let me dwell", but his instrumental music has undergone a major revival, and with the 20th century's early music revival, has been a continuing source of repertoire for lutenists and classical guitarists.
The pavane is a slow processional dance common in Europe during the 16th century (Renaissance).
Carl Maria Friedrich Ernst von Weber was a German composer, conductor, virtuoso pianist, guitarist, and critic who was one of the first significant composers of the Romantic era. Best known for his operas, he was a crucial figure in the development of German Romantische Oper.
Ottaviano Petrucci was an Italian printer. His Harmonice Musices Odhecaton, a collection of chansons printed in 1501, is commonly misidentified as the first book of sheet music printed from movable type. Actually that distinction belongs to the Roman printer Ulrich Han's Missale Romanum of 1476. Nevertheless, Petrucci's later work was extraordinary for the complexity of his white mensural notation and the smallness of his font, and he did in fact print the first book of polyphony using movable type. He also published numerous works by the most highly regarded composers of the Renaissance, including Josquin des Prez and Antoine Brumel.
A prelude is a short piece of music, the form of which may vary from piece to piece. While, during the Baroque era, for example, it may have served as an introduction to succeeding movements of a work that were usually longer and more complex, it may also have been a stand-alone piece of work during the Romantic era. It generally features a small number of rhythmic and melodic motifs that recur through the piece. Stylistically, the prelude is improvisatory in nature. The term may also refer to an overture, particularly to those seen in an opera or an oratorio.
Francesco Canova da Milano was an Italian lutenist and composer. He was born in Monza, near Milan, and worked for the papal court for almost all of his career. Francesco was heralded throughout Europe as the foremost lute composer of his time. More of his music is preserved than of any other lutenist of the period, and his work continued to influence composers for more than a century after his death.
Arnolt Schlick was a German organist, lutenist and composer of the Renaissance. He is grouped among the composers known as the Colorists. He was most probably born in Heidelberg and by 1482 established himself as court organist for the Electorate of the Palatinate. Highly regarded by his superiors and colleagues alike, Schlick played at important historical events, such as the election of Maximilian I as King of the Romans, and was widely sought after as organ consultant throughout his career. The last known references to him are from 1521; the circumstances of his death are unknown.
The sarabande is a dance in triple metre, or the music written for such a dance.
Antonio de Cabezón was a Spanish Renaissance composer and organist. Blind from childhood, he quickly rose to prominence as a performer and was eventually employed by the royal family. He was among the most important composers of his time and the first major Iberian keyboard composer.
Giovanni Girolamo Kapsperger was an Austrian-Italian virtuoso performer and composer of the early Baroque period. A prolific and highly original composer, Kapsberger is chiefly remembered today for his lute and theorbo (chitarrone) music, which was seminal in the development of these as solo instruments.
The concerto delle donne was a group of professional female singers in the late Italian Renaissance, primarily in the court of Ferrara, Italy. Renowned for their technical and artistic virtuosity, the ensemble was founded by Alfonso II, Duke of Ferrara, in 1580 and was active until the court was dissolved in 1597. Giacomo Vincenti, a music publisher, praised the women as "virtuose giovani", echoing the sentiments of contemporaneous diarists and commentators.
"Flow, my tears" is a lute song by the accomplished lutenist and composer John Dowland (1563–1626). Originally composed as an instrumental under the name "Lachrimae pavane" in 1596, it is Dowland's most famous ayre, and became his signature song, literally as well as metaphorically: he would occasionally sign his name "Jo: dolandi de Lachrimae".
The first decade of the 16th century marked the creation of some significant compositions. These were to become some of the most famous compositions of the century.
Cataldo Vito Amodei was an Italian composer of the mid-Baroque period who spent his career in Naples. His cantatas were important predecessors to the active cantata production of 18th-century Naples, and he stands with the elder Francesco Provenzale and younger Alessandro Scarlatti as among the principal cantata composers. Other surviving works include a book of motets dedicated to Leopold I, Holy Roman Emperor; a serenata; two pastorales; two psalms; and four oratorios, which were important contributions to their genre.
Hexachordum Apollinis is a collection of keyboard music by Johann Pachelbel, published in 1699. It comprises six arias with variations, on original themes, and is generally regarded as one of the pinnacles of Pachelbel's oeuvre. The collection includes a preface in which Pachelbel dedicates the work to Dieterich Buxtehude and Ferdinand Tobias Richter and briefly discusses the nature of music.
Piva is an Italian Renaissance dance that may have originated from a peasant dance to the accompaniment of bagpipes. In 15th-century sources it is described as the fastest version of the basse danse. Antonio Cornazzano, for example, in his Libro del'arte del danzare, explains that the music for the piva was also called cacciata, was in quadruple time beginning on the downbeat and was twice as fast as music for the basse danse. The term appeared also in the 16th century, applied to compositions for lute. The pivas in Joan Ambrosio Dalza's 1508 lute collection are very repetitive pieces in quick triple time, with no clearly defined structure. However, it may not be accurate to describe them as being in triple time, since the fast triple rhythmic groupings do not represent one bar each, but rather single beats divided into triplets, just like Thoinot Arbeau's mesure ternaire for the basse danse.
Francesco Spinacino was an Italian lutenist and composer. His surviving output comprises the first two volumes of Ottaviano Petrucci's influential series of lute music publications: Intabolatura de lauto libro primo and Intabolatura de lauto libro secondo. These two collections comprise the first known printed lute music, and his first book was the first ever instrumental music book printed with the movable type system.
Ennemond Gaultier (c. 1575 – 17 December 1651) was a French lutenist and composer. He was one of the masters of the 17th century French lute school.
Matthäus Waissel was a German lutenist, editor of music, and writer. Waissel was from 1573 headmaster of a school at Schippenbeil near Königsberg; he published in that year a volume of lute arrangements of vocal pieces, and in 1592 he issued a collection of German dances for lute, which signaled the decline of German lute tablature as it yielded prominence to the so-called French system. Waissel's output comprises three books of solo lute music in all, and one collection of duets. It is unlikely though that any of the pieces in these collections are his own compositions. Waissel's chief importance arguably lies in his expansion of the passamezzo/saltarello pairing into full suites that in form, if not title, comprise some of the earliest true dance suites.
Dinko Fabris is an Italian musicologist. He specializes in lute music, the music of Naples, and Italian music in general, having written books on Italian composers such as Andrea Falconieri, Andrea Gabrieli, Francesco Provenzale and Francesco Cavalli. He holds teaching posts at the Conservatory of Bari and the University of Basilicata, and was president of the International Musicological Society from 2012 to 2017.
References
- Joan Wess; Victor Anand Coelho (2001). "Joan Ambrosio Dalza". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0 . Retrieved 27 December 2006.
- Elaine Sisman (2001). "Variations". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0 . Retrieved 17 March 2006.
- Alan Brown (2001). "Pavan". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0 . Retrieved 20 December 2006.
- Dinko Fabris (2001). "Tastar de corde". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0 . Retrieved 11 December 2006.
- Imogene Horsley. The 16th-Century Variation: A New Historical Survey, Journal of the American Musicological Society, Vol. 12, No. 2/3 (Summer – Autumn, 1959), pp. 118–132.
