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Leçons De Ténèbres
Leçons de ténèbres ( 'lessons of darkness'; sometimes spelled Leçons des ténèbres) is a genre of French Baroque music which developed from the polyphonic lamentations settings for the tenebrae service of Renaissance composers such as Sermisy, Gesualdo, Brumel, Tallis, and Tomás Luis de Victoria into virtuoso solo chamber music. Spelling In the original French sources "''Leçons de ténèbres''" is more common; the spelling "''Leçons des ténèbres''" is increasingly common in later resources, but modern sources still use "''de''", as seen in Sébastien Gaudelus's ''Les offices de Ténèbres en France, 1650–1790''(2005). The capitalisation of "''ténèbres''" varies. Liturgical function The tenebrae service uses the text of the Lamentations of Jeremiah, originally deploring the Siege of Jerusalem (587 BC) and subsequent desolation of the city, but applied allegorically to the three days of mourning for Christ between his crucifixion and resurrection. However the c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Literal Translation
Literal translation, direct translation or word-for-word translation, is a translation of a text done by translating each word separately, without looking at how the words are used together in a phrase or sentence. In Translation studies, translation theory, another term for "literal translation" is ''metaphrase'' (as opposed to ''paraphrase'' for an Analogy, analogous translation). Literal translation leads to mistranslating of idioms, which is a serious problem for machine translation. The term as used in translation studies Usage The term "literal translation" often appeared in the titles of 19th-century English language, English translations of classical, Bible and other texts. Cribs Word-for-word translations ("cribs," "ponies" or "trots") are sometimes prepared for a writer who is translating a work written in a language they do not know. For example, Robert Pinsky is reported to have used a literal translation in preparing his translation of Dante's ''Inferno (Dante), I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music. A double bass may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas Bernier
Nicolas Bernier (28 June 1664 – 5 September 1734) was a French Baroque composer. Biography He was born in Mantes-sur-Seine (now Mantes-la-Jolie), the son of Rémy Bernier and Marguerite Bauly. He studied with Antonio Caldara and is known for an Italian-influenced style. After Marc-Antoine Charpentier he is probably the most Italian-influenced French composer of this era, and replaced Charpentier as ''maître de musique des enfants'' (master of choristers) at the royal Sainte-Chapelle in 1704. He died in Paris. "French composer, harpsichordist, theorist and teacher. He probably learnt music in the maîtrise of the collegiate church of Notre Dame, Mantes, and in that of Evreux Cathedral. According to the Etat actuel de la Musique du Roi (1773) he then studied with Caldara in Rome. In 1692 Bernier was living in the rue Tiquetonne in Paris and was teaching the harpsichord. On 20 November 1693 he failed to win the post of maître de musique at Rouen Cathedral in competition ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis-Nicolas Clérambault
Louis-Nicolas Clérambault (19 December 1676 – 26 October 1749) was a French musician, best known as an organist and composer. He was born, and died, in Paris. Biography Clérambault came from a musical family (his father and two of his sons were also musicians). While very young, he learned to play the violin and harpsichord and he studied the organ with André Raison. Clérambault also studied composition and voice with Jean-Baptiste Moreau. Clérambault became the organist at the church of the Grands-Augustins and entered the service of Madame de Maintenon. After the death of Louis XIV and Guillaume-Gabriel Nivers, he succeeded the latter at the organ of the church of Saint-Sulpice and the royal house of Saint-Cyr, an institution for young girls from the poor nobility. He was responsible there for music, the organ, directing chants and choir, etc. It was in this post—it remained his after the death of Madame de Maintenon—that he developed the genre of the "French cant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Féry Rebel
Jean-Féry Rebel (18 April 1666 – 2 January 1747) was an innovative French Baroque composer and violinist. Biography Rebel, a child violin prodigy, was the most famous offspring of Jean Rebel, a tenor in Louis XIV's private chapel. He later became a student of the great violinist, singer, conductor, and composer Jean-Baptiste Lully. By 1699, at age 33, Rebel became first violinist of the Académie royale de musique (also known as the Opéra). He travelled to Spain in 1700. Upon his return to France in 1705, he was given a place in the prestigious ensemble known as the Les Vingt-quatre Violons du Roi. He was chosen Maître de Musique in 1716. His most important position at court was Chamber Composer, receiving the title in 1726. Rebel served as court composer to Louis XIV and ''maître de musique'' at the Académie, and directed the Concert Spirituel (during the 1734–1735 season). Rebel was one of the first French musicians to compose sonatas in the Italian style. Many ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sébastien De Brossard
Sébastien de Brossard, pronounced e.bɑs.tjẽ də brɔ.saːr (12 September 1655 – 10 August 1730) was a French music theorist, composer and collector. Life Brossard was born in Dompierre, Orne. After studying philosophy and theology at Caen, he studied music and established himself in Paris in 1678 and remained there until 1687. He briefly was the private tutor of the young son of Nicolas-Joseph Foucault, a collector and bibliophile. He became a very close friend to Étienne Loulié, one of the musicians who performed the Italianate works that Marc-Antoine Charpentier was composing for Marie de Lorraine, Duchess of Guise, better known as "Mademoiselle de Guise." While in Paris, he also became close to Samuel Morland, an English inventor and polymath who was working with Joseph Sauveur, a mathematician, on the Machine de Marly. It was during talks about music with Morland that Brossard deduced the role that a major third versus a minor third play in differentiating a ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François Couperin
François Couperin (; 10 November 1668 – 11 September 1733) was a French Baroque composer, organist and harpsichordist. He was known as ''Couperin le Grand'' ("Couperin the Great") to distinguish him from other members of the musically talented Couperin family. Life Couperin was born in Paris, into a prominent musical family. His father Charles was organist at the Church of Saint-Gervais in the city, a position previously held by Charles's brother Louis Couperin, the esteemed keyboard virtuoso and composer whose career was cut short by an early death. As a boy François must have received his first music lessons from his father, but Charles died in 1679 leaving the position at Saint-Gervais to his son, a common practice known as ''survivance'' that few churches ignored. With their hands tied, the churchwardens at Saint-Gervais hired Michel Richard Delalande to serve as new organist on the understanding that François would replace him at age 18. However, it is likely Couperin b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michel Richard Delalande
Michel Richard Delalande [de Lalande] (; 15 December 1657 – 18 June 1726) was a French Baroque composer and organist who was in the service of King Louis XIV. He was one of the most important composers of grands motets. He also wrote orchestral suites known as ''Simphonies pour les Soupers du Roy'' and ballets. Biography Born in Paris, he was a contemporary of Jean-Baptiste Lully and François Couperin. Delalande taught music to the daughters of Louis XIV, and was director of the French chapel royal from 1714 until his death at Versailles (city), Versailles in 1726. Delalande was arguably the greatest composer of French ''grands motets'', a type of sacred work that was more pleasing to Louis XIV because of its pomp and grandeur, written for soloists, choir and comparatively large orchestra. According to tradition, Louis XIV organized a contest between composers, giving them the same sacred text and time to compose the musical setting. He alone was the judge. Delalande was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michel Lambert
Michel Lambert (1610 – 29 June 1696) was a French singing master, theorbist and composer. Career Lambert was born at Champigny-sur-Veude, France. He received his musical education as an altar boy at the Chapel of Gaston d'Orléans, a brother of king Louis XIII. He studied also with Pierre de Nyert in Paris. Since 1636, he was known as a singing teacher. In 1641, he married singer Gabrielle Dupuis who died suddenly a year later. Their daughter Madeleine (1643–1720) married Jean-Baptiste Lully in 1662. After his marriage, Lambert's career became closely linked to his sister-in-law and famous singer Hilaire Dupuis (1625–1709). In 1651, he appears as a ballet dancer at the court of Louis XIV. Beginning in 1656, his reputation as a composer was established and his compositions were regularly printed by Ballard. They consist mainly of airs on poems of Benserade and Quinault. He was the most prolific composer of airs in the second half of the 17th century. In 1661, he succeeded Je ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Sheppard (composer)
John Sheppard (also ''Shepherd'', c. 1515 – December 1558) was an English composer of the Renaissance. Biography Sheppard was probably born around 1515, judging from his statement in 1554 that he had been composing music for twenty years. Nothing certain is known about his early life. The first undoubted sighting of him occurs when he was probably in his later twenties, as ''informator choristarum'' at Magdalen College, Oxford. He served in this capacity during 1541-2 and again from 1544-8. Sheppard left Magdalen College in March 1548 and next appears in a list of the Gentleman of the Chapel Royal who sang at the funeral of King Edward VI in August 1553; he may have joined the chapel directly after his departure from Magdalen, but, because of a gap in Chapel Royal records from 1547, this is not certain.Hugh Benham, ''Latin Church Music in England, c. 1460-1575'' (London: Barrie & Jenkins, 1977), p.197. He presumably remained active at the chapel up to the year of his dea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claudin De Sermisy
Claudin de Sermisy (c. 1490 – 13 October 1562) was a French composer of the Renaissance.Isabelle Cazeaux, "Claudin d Sermisy", "The New Grove Dictionary of Music and Musicians", ed. Stanley Sadie. 20 vol. (London, Macmillan Publishers Ltd., 1980). Along with Clément Janequin he was one of the most renowned composers of French chansons in the early 16th century; in addition he was a significant composer of sacred music. His music was both influential on, and influenced by, contemporary Italian styles. Biography Sermisy was most likely born either in Picardy, Burgundy, or Île-de-France, based on the similarity of his surname to place names there. Sometime in his early life he may have studied with Josquin des Prez, if Pierre de Ronsard is to be believed, but many musicologists consider the claim unreliable; at any rate he absorbed some of the older composer's musical ideas either early, or later, as he became acquainted with his music. Josquin was possibly at the French cou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leçons De Ténèbres (Couperin)
The ''Leçons de ténèbres pour le mercredi saint'' ("''Tenebrae Readings for Holy Wednesday''") are a series of three vocal pieces composed by François Couperin for the liturgies of Holy Week, 1714, at the Abbaye royale de Longchamp. Couperin's ''Leçons de ténèbres'' use the Latin text of the Old Testament Book of Lamentations, in which Jeremiah deplores the destruction of Jerusalem by the Babylonians. Musical settings of the Lamentations of Jeremiah the Prophet were common in the Renaissance, famous polyphonic examples being those by Thomas Tallis, Tomás Luis de Victoria, Lassus, and Carlo Gesualdo. Leçons de ténèbres were a particular French subgenre of this music with other similar settings being composed by Marc-Antoine Charpentier, Michel Delalande and others. Those by Couperin are for two high vocalists and basso continuo. They are composed of three lessons (two other sets of three for Thursday and Friday having been lost)."Je ne donne à présent que les trois d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
