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Eton Choirbook
The Eton Choirbook (Eton College MS. 178) is a richly illuminated manuscript collection of England, English sacred music composed during the late 15th century. It was one of very few collections of Latin liturgical music to survive the English Reformation, Reformation, and hence is an important source. It originally contained music by 24 different composers; however, many of the pieces are damaged or incomplete. It is one of three large choirbooks surviving from early-Tudor England (the others are the Lambeth Choirbook and the Caius Choirbook). The Choirbook was compiled between approximately 1500 and 1505 for use at Eton College; its present binding dates from the mid 16th century. 126 folios remain of the original 224, including the index. In the original, there were a total of 93 separate compositions; however only 64 remain either complete or in part. Some of the 24 composers are known only because of their inclusion in the Eton Choirbook. John Browne (composer), John Br ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eton Choirbook
The Eton Choirbook (Eton College MS. 178) is a richly illuminated manuscript collection of England, English sacred music composed during the late 15th century. It was one of very few collections of Latin liturgical music to survive the English Reformation, Reformation, and hence is an important source. It originally contained music by 24 different composers; however, many of the pieces are damaged or incomplete. It is one of three large choirbooks surviving from early-Tudor England (the others are the Lambeth Choirbook and the Caius Choirbook). The Choirbook was compiled between approximately 1500 and 1505 for use at Eton College; its present binding dates from the mid 16th century. 126 folios remain of the original 224, including the index. In the original, there were a total of 93 separate compositions; however only 64 remain either complete or in part. Some of the 24 composers are known only because of their inclusion in the Eton Choirbook. John Browne (composer), John Br ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cross-relation
A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance. The term describes a " chromatic contradiction" between two notes sounding simultaneously (or in close proximity) in two different voices or parts; or alternatively, in music written before 1600, the occurrence of a tritone between two notes of adjacent chords. In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G while the bass sings G momentarily beneath it, producing the clash of an augmented unison. In this instance, the false relation is less pronounced: the contradicting E (soprano voice) and E (bass voice) (diminished octave) do not sound simultaneously. Here the false relation occurs because the top voice is descending in a minor key, and therefore takes the notes of the melodic m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Hacomplaynt
Robert Hacomblen (also spelt Hacomplaynt, Hacumplaynt, Hacomplayne, Hacomblene, Hacumblen) (1455 or 1456, London – 1528, Cambridge), was provost (education), provost of King's College, Cambridge. Career and legacy Hacomblen was educated at Eton College, Eton, where he was admitted a scholar of King's College, Cambridge in 1472. He served the office of proctor in 1483, and succeeded Richard Lincoln as vicar of Prescot in Lancashire on 7 Aug. 1492. He became D.D. in 1507, and in 1509, on the death of Dr. Richard Hatton, was elected to the provostship of his college at Cambridge, which he held for nineteen years. His date of death is uncertain and has been suggested as 5 or 8 September or 21 October 1528 (the last of which being the date he possibly signed a will). As provost he was party to the contract entered into in 1526 for filling the windows of King's College Chapel, Cambridge, King's College chapel with stained glass. He gave the brass lectern still in use in the chapel, w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edmund Turges
Edmund Turges (c. 1450–1500) thought to be also Edmund Sturges (fl. 1507–1508) was an English Renaissance era composer who came from Petworth, was ordained by Bishop Ridley in 155 0, and joined the Fraternity of St. Nicholas (the London Guild of Parish Clerks) in 1522. Several works are listed in the name of Turges in the Eton Choirbook, which survived Henry VIII's Dissolution of the Monasteries between 1536 and 1541. Turges also has a ''Magnificat'' extant in the Caius Choirbook, and compositions in the Fayrfax Boke. A ''Kyrie'' and ''Gloria'' are ascribed to Sturges in the Ritson Manuscript. At least two masses and three Magnificat settings have been lost, as well as eight six-part pieces listed in the 1529 King's College Inventory. It is quite possible that his setting of 'Gaude flore virginali' was written with the choir of New College, Oxford New College is one of the constituent colleges of the University of Oxford in the United Kingdom. Founded in 1379 by Wil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hugh Kellyk
Hugh Kellyk (fl.c.1480) was an English composer, whose tree surviving works are preserved in the Eton Choirbook. These two works are a five-part Magnificat and a seven-part Gaude flore virginali, which appear to be among the earlier pieces in the choirbook. Gaude Flore Virginali was recorded by The Sixteen The Sixteen are a United Kingdom-based choir and period instrument orchestra; founded by Harry Christophers, they started as an unnamed group of sixteen friends in 1977, giving their first billed concert in 1979. The group performs early Engl ... in 1994,Fanfare - Volume 17 Page 310 Joel Flegler - 1994 "The newest disc begins with a composer who has never appeared on records or even on the BBC broadcasts listed in Timothy Day's Tudor discography: not even Hugh Kellyk's dates and place of work are known, and only two of his works ..." the Magnificat by Tonus Peregrinus. References {{DEFAULTSORT:Kellyk, Hugh 15th-century English people English composers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicholas Huchyn
Nicholas is a male given name and a surname. The Eastern Orthodox Church, the Roman Catholic Church, and the Anglican Churches celebrate Saint Nicholas every year on December 6, which is the name day for "Nicholas". In Greece, the name and its derivatives are especially popular in maritime regions, as St. Nicholas is considered the protector saint of seafarers. Origins The name is derived from the Greek name Νικόλαος (''Nikolaos''), understood to mean 'victory of the people', being a compound of νίκη ''nikē'' 'victory' and λαός ''laos'' 'people'.. An ancient paretymology of the latter is that originates from λᾶς ''las'' ( contracted form of λᾶας ''laas'') meaning 'stone' or 'rock', as in Greek mythology, Deucalion and Pyrrha recreated the people after they had vanished in a catastrophic deluge, by throwing stones behind their shoulders while they kept marching on. The name became popular through Saint Nicholas, Bishop of Myra in Lycia, the inspira ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Fawkyner
John is a common English name and surname: * John (given name) * John (surname) John may also refer to: New Testament Works * Gospel of John, a title often shortened to John * First Epistle of John, often shortened to 1 John * Second Epistle of John, often shortened to 2 John * Third Epistle of John, often shortened to 3 John People * John the Baptist (died c. AD 30), regarded as a prophet and the forerunner of Jesus Christ * John the Apostle (lived c. AD 30), one of the twelve apostles of Jesus * John the Evangelist, assigned author of the Fourth Gospel, once identified with the Apostle * John of Patmos, also known as John the Divine or John the Revelator, the author of the Book of Revelation, once identified with the Apostle * John the Presbyter, a figure either identified with or distinguished from the Apostle, the Evangelist and John of Patmos Other people with the given name Religious figures * John, father of Andrew the Apostle and Saint Peter * Pope Joh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Wilkinson (composer)
Robert Wylkynson (sometimes Wilkinson) (ca. 1450 – Eton after 1515) was one of the composers of the Eton Choirbook. Wylkynson became parish clerk of Eton in 1496, then in 1500 he was promoted to ''Informator'' - the master of the choristers. Only four works survive: * 2x Salve Regina * Jesus autem transiens/Credo in Deum à 13 * motet ''O virgo prudentissima'' (fragmentary) But these works show Wylkynson to have been "an extremely ambitious composer and a more than competent one."Hugh Benham Latin church music in England, c. 1460–1575 1977 Page 95 Recordings *Salve Regina Eton Choirbook Vol. I The Sixteen, dir. Harry Christophers *Jesus autem transiens/Credo in Deum à 13. Eton Choirbook Vol. III The Sixteen, dir. Harry Christophers *Jesus autem transiens/Credo in Deum à 13. on ''À 40 Voix''.Huelgas Ensemble, dir. Paul Van Nevel Paul Van Nevel (born 4 February 1946) is a Belgian conductor, musicologist and art historian. In 1971 he founded the Huelgas Ensemble, a ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passion (music)
In Christian music, a Passion is a setting of the Passion of Christ. Liturgically, most Passions were intended to be performed as part of church services in the Holy Week. Passion settings developed from Medieval intoned readings of the Gospel texts relating Christ's Passion, to which later polyphonic settings were added. Passion Plays, another tradition that originated in the Middle Ages, could be provided with music such as hymns, contributing to Passion as a genre in music. While Passion music in Catholic countries had to compete with other devotions such as the Stations of the Cross, the '' Improperia'' and Tenebrae, in Protestant Germany settings of the Gospels became a focal point of Passiontide services, with Passion cantatas (and later Passions in oratorio format) performed on Passion Sunday, Palm Sunday and Good Friday. Its best known examples, the Bach Passions, date from the first half of the 18th century. Later musical settings of the Passion of Christ, su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnificat
The Magnificat (Latin for " y soulmagnifies he Lord) is a canticle, also known as the Song of Mary, the Canticle of Mary and, in the Byzantine tradition, the Ode of the Theotokos (). It is traditionally incorporated into the liturgical services of the Catholic Church, the Eastern Orthodox churches, and the Anglican Communion. Its name comes from the incipit of the Latin version of the text. The text of the canticle is taken from the Gospel of Luke () where it is spoken by Mary upon the occasion of her Visitation to her cousin Elizabeth. In the narrative, after Mary greets Elizabeth, who is pregnant with John the Baptist, the latter moves within Elizabeth's womb. Elizabeth praises Mary for her faith (using words partially reflected in the Hail Mary), and Mary responds with what is now known as the Magnificat. The Magnificat is one of the eight most ancient Christian hymns and perhaps the earliest Marian hymn. Within the whole of Christianity, the canticle is most frequent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
