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Hespèrion XXI
Hespèrion XXI is an international early music ensemble. The group was formed in Basel, Switzerland in 1974 as Hespèrion XX by Catalan musical director Jordi Savall (bowed string instruments, particularly the viola da gamba), his wife Montserrat Figueras (soprano), Lorenzo Alpert (flute, percussion), and Hopkinson Smith (plucked string instruments). The group changed its name to Hesperion XXI at the beginning of the 21st century. The name "Hespèrion" is derived from a word in Classical Greek which referred to the people of the Italian and Iberian peninsulas. The ensemble is noted for its scholarship in early music, especially the music of 16th and 17th century of Spain. Their performance practice is noted for the liberal use of improvisation around the basic melodic and rhythmic structures of the early pieces, resulting in great emotional intimacy and immediacy. Awards * Grand Prix de l'académie du Disque Français * Edison-Prijs Amsterdam * Grand Prix du Disque of the Char ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hespèrion XXI
Hespèrion XXI is an international early music ensemble. The group was formed in Basel, Switzerland in 1974 as Hespèrion XX by Catalan musical director Jordi Savall (bowed string instruments, particularly the viola da gamba), his wife Montserrat Figueras (soprano), Lorenzo Alpert (flute, percussion), and Hopkinson Smith (plucked string instruments). The group changed its name to Hesperion XXI at the beginning of the 21st century. The name "Hespèrion" is derived from a word in Classical Greek which referred to the people of the Italian and Iberian peninsulas. The ensemble is noted for its scholarship in early music, especially the music of 16th and 17th century of Spain. Their performance practice is noted for the liberal use of improvisation around the basic melodic and rhythmic structures of the early pieces, resulting in great emotional intimacy and immediacy. Awards * Grand Prix de l'académie du Disque Français * Edison-Prijs Amsterdam * Grand Prix du Disque of the Char ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spain
, image_flag = Bandera de España.svg , image_coat = Escudo de España (mazonado).svg , national_motto = ''Plus ultra'' (Latin)(English: "Further Beyond") , national_anthem = (English: "Royal March") , image_map = , map_caption = , image_map2 = , capital = Madrid , coordinates = , largest_city = Madrid , languages_type = Official language , languages = Spanish language, Spanish , ethnic_groups = , ethnic_groups_year = , ethnic_groups_ref = , religion = , religion_ref = , religion_year = 2020 , demonym = , government_type = Unitary state, Unitary Parliamentary system, parliamentary constitutional monarchy , leader_title1 = Monarchy of Spain, Monarch , leader_name1 = Felipe VI , leader_title2 = Prime Minister of Spain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Llibre Vermell De Montserrat
The ''Llibre Vermell de Montserrat'' (, "Red Book of Montserrat") is a manuscript collection of devotional texts containing, amongst others, some late medieval songs. The 14th-century manuscript was compiled in and is still located at the monastery of Montserrat outside Barcelona in Catalonia, Spain. Manuscript The manuscript was prepared in approximately 1399. It originally contained 172 double pages, of which 32 have been lost. Six folios contain music. The title "The Red Book of Montserrat" describes the red binding in which the collection was placed in the 19th century. No composer is identified for any of the songs it contains. The monastery holds the shrine of the Virgin of Montserrat, which was a major site of pilgrimage during the time it was compiled. Music The purpose of the compilation is made clear by its anonymous compiler himself: :''Quia interdum peregrini quando vigilant in ecclesia Beate Marie de Monte Serrato volunt cantare et trepudiare, et etiam in platea de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Romancero
{{Short description, Collection of Spanish romances, a type of folk ballad A ''romancero'' is a collection of Spanish '' romances'', a type of folk ballad (sung narrative). The ''romancero'' is the entire corpus of such ballads. As a distinct body of literature they borrow themes such as war, honour, aristocracy and heroism from epic poetry, especially the medieval ''cantar de gesta'' and chivalric romance, and they often have a pretense of historicity. The ''romancero'' was once thought to extend back in time to before the earliest Old Spanish ''cantares'', like the '' Poema del Cid'', but it is now argued that they are instead successors to the truly epic chivalric genres. The earliest examples of ''romances'' date from the fourteenth century, and some are shortened narrations of stories drawn from the ''cantares'' and romances. Many tales take place against the backdrop of the ''Reconquista'', showing Spaniards and Moors in conflict or in love, while others draw their themes fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diego Ortiz
Diego Ortiz (c. 1510 – c. 1576) was a Spanish composer and music theorist in service to the viceroy of Naples ruled by the Spanish monarchs Charles V and Philip II. Ortiz published the first manual on ornamentation for bowed string instruments, and a large collection of sacred vocal compositions. Biography Very little is known about Ortiz's life. He is believed to have been born in Toledo and probably died in Rome, where its trail is lost. In 1553 Ortiz was living in the viceroyalty of Naples. Five years later, the third duke of Alba, Fernando Álvarez de Toledo, appointed him maestro di cappella of the Chapel Royal of Naples. In 1565 Ortiz still held the post under the Viceroy Pedro Afán de Ribera, duke of Alcalá. A recent study suggests that Diego Ortiz could have been the model for a very relevant personage in the famous work of Paolo Caliari Veronese "The Wedding at Cana", based on the instrumental ensemble represented by the painter, the edition date of Ortiz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De Upsala
The , also known by the titles Cancionero del Duque de Calabria and Cancionero de Venecia, is a volume of mostly anonymous Spanish music printed in Venice in 1556. Its actual title is ''Villancicos de diversos Autores, a dos, y a tres, y a quatro, y a cinco bozes, agora nuevamente corregidos. Ay mas ocho tonos de Canto llano, y ocho tonos de Canto de Organo para que puedan aprovechar los que A cantar començaren. Venetiis, Apud Hieronymum Scotum, MDLVI''. It survives in a unique copy at the Uppsala University Library and was edited in 1909 by Rafael Mitjana; the subsequent literature has mostly adopted his spelling "Upsala" ("''Upsala''" being the historic Swedish spelling of "Uppsala" until the major spelling reform of 1906). A facsimile was first published by Alamire ( Peer, Belgium 1984) and later by the Biblioteca Valenciana (Valencia, Spain 2003). Contents ''Villancicos a dos bozes'' (for two voices) ''Villancicos a tres bozes'' (for three voices) ''Villancicos a quat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De Palacio
The Cancionero de Palacio (Madrid, Biblioteca Real, MS II–1335), or Cancionero Musical de Palacio (CMP), also known as Cancionero de Barbieri, is a Spanish manuscript of Renaissance music. The works in it were compiled during a time span of around 40 years, from the mid-1470s until the beginning of the 16th century, approximately coinciding with the reign of the Catholic Monarchs. The manuscript The first ten folios are not numbered; the remaining folios are numbered from 1 to 304. Based on the index of works included in the beginning of the manuscript, it originally had 548 works. Many folios have been lost, reducing the number of works currently in the manuscript to 458. The manuscript was written by 9 different people and, in all, received 11 successive additions: *The first addition happened in the first years of the 16th century, most probably after 1505, as a result of the reorganization of the Court's musical chapel ordered by Ferdinand II of Aragon, one year after th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero De La Colombina
The Cancionero de la Colombina or Cancionero Musical de la Colombina (CMC) is a Spanish manuscript (Ms. 7-1-28) containing Renaissance music from the second half of the 15th century.DIAMM - SourceE-Sc Ms. 7-1-28/ref> The manuscript was copied during the reign of the Catholic Monarchs, possibly between the 1460s and the 1480s. Therefore, it predates the more famous Cancionero de Palacio. The first half of the manuscript is the work of two main scribes, and the second half was completed by six other scribes. It originally comprised 106 folios, 8 of which are lost. The general condition of the remaining folios is less than satisfactory. A title added on a later period reads "''Cantilenas vulgares puestas en musica por varios Españoles''" (Popular melodies set to music by various Spaniards). The ''Cancionero de la Colombina'' has been related with the court of the powerful dukes of Medina Sidonia who lived in Seville and had contacts with Juan de Triana, the main composer of the manus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cancionero
A chansonnier ( ca, cançoner, oc, cançonièr, Galician and pt, cancioneiro, it, canzoniere or ''canzoniéro'', es, cancionero) is a manuscript or printed book which contains a collection of chansons, or polyphonic and monophonic settings of songs, hence literally " song-books"; however, some manuscripts are called chansonniers even though they preserve the text but not the music, for example, the Cancioneiro da Vaticana and Cancioneiro da Biblioteca Nacional, which contain the bulk of Galician-Portuguese lyrics. The most important chansonniers contain lyrics, poems and songs of the troubadours and trouvères used in the medieval music. Prior to 1420, many song-books contained both sacred and secular music, one exception being those containing the work of Guillaume de Machaut. Around 1420, sacred and secular music was segregated into separate sources, with large choirbooks containing sacred music, and smaller chansonniers for more private use by the privileged. Chansonniers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Romance (music)
The term romance ( es, romance/romanza, it, romanza, german: Romanze, french: romance, russian: романс, pt, romance, ro, romanţă) has a centuries-long history. Applied to narrative ballads in Spain, it came to be used by the 18th century for simple lyrical pieces not only for voice, but also for instruments alone. The ''Oxford Dictionary of Music'' states that "generally it implies a specially personal or tender quality". Instrumental music bearing the title "Romance" Typically, a Classical piece or movement called a "Romance" is in three, meaning three beats in the bar * Beethoven: two violin romances (''Romanzen'') for violin and orchestra, No. 1 G major, Op. 40; No. 2 in F major, Op. 50 take the form of a loose theme and variations * Johannes Brahms: ''Romanze'' in F major for piano, Op. 118, No. 5 (1893) * Max Bruch: "Romance for Viola and Orchestra in F" * Arthur Butterworth: Romanza for horn and string quartet with double bass ad libitum (or piano), Op. 12 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villancico
The ''villancico'' (Spanish, ) or vilancete (Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.Pope, "Villancico." Spain and the New World Derived from medieval dance forms, the 15th century Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes. The poetic form of the Spanish villancico was that of an estribillo (or refrain) and coplas (stanzas), with or without an introduction. While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter, ABA framework. The villancico developed as a secular polyphonic genre until religious villancicos gained popularity in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Del Encina
Juan del Encina (July 12, 1468 – 1529 or 1530) was a composer, poet, and playwright, often called the founder, along with Gil Vicente, of Spanish drama. His birth name was Juan de Fermoselle. He spelled his name Enzina, but this is not a significant difference; it is two spellings of the same sound, in a time when "correct spelling" as we know it barely existed. Life He was born in 1468 near Salamanca, probably at Encina de San Silvestre, one of at least 7 known children of Juan de Fermoselle, a shoemaker, and his wife. He was of Jewish converso descent. After leaving Salamanca University sometime in 1492 he became a member of the household of Don Fadrique de Toledo, the second Duke of Alba, although some sources believe that he did not work for the Duke of Alba until 1495. A plausible argument is that his first post was as a Corregidor in northern Spain. Fermoselle was a Chaplain at the Salamanca Cathedral in the early 1490s. It was here that he changed his name from Juan de F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
