Gioseffo Zarlino Vidéos
compositeur italien
- orgue
- république de Venise
- compositeur ou compositrice, musicologue, théoricien ou théoricienne de la musique, organiste
Dernière mise à jour
2024-04-28
Actualiser
Dente Serra Pietro Aaron Zarlino Huygens Andreas Werckmeister Gottfried Keller Alembert Francesco Antonio Vallotti Thomas Young Prinz John Marsh Metcalf Gottlieb Graupner Graupner Johann Nepomuk Hummel Sob 1523 1558 1691 1707 1752 1755 1771 1781 1799 1807 1808 1809 1818 1819 1829 1885 1906
/////////////////////////////////// *Wear headphones, circumaural ones recommended./ Para a experiência de subgraves, recomenda-se fone circumaural. /////////////////////////////////// *NOTE: an incremental methodology in sawtooth waves ("super/hyper saw" via a DIY synth [ESP32 module + IC 6N138]) under arpeggio regime exploring "historic" temperaments: meantone and modified meantone, well ,victorian well, equal and quasi-equal./ NOTA: metodologia incremental em ondas dente de serra ("super/hyper saw" via módulo ESP32 e CI 6N138) em regime de arpejo sob ordens do temperameto mesotônico ("modificado" e de "comas"), temperamento circular, vitoriano, temperamento quase-igual e eqüi-temperamento. /////////////////////////////////// *Arpeggiated "historic" temperaments:/ Temperamentos "históricos" arpejados: Pietro Aaron's 1/4 syntonic meantone (1523); Zarlino's 2/7 syntonic meantone (1558); Christiaan Huygens' "temperament ordinaire" (1691); Andreas Werckmeister's temperament (1691); Gottfried Keller's 1/5 diatonic meantone (1707); Jean-Le Rond D'Alembert's modified meantone (1752); Jean-Baptiste Romieu's 1/7 comma meantone (1755); Johann Phillipp Kirberger's equal-beating well (1771); Francesco Antonio Vallotti's well temperament (1781); Thomas Young's well temperament (1799); William Hawkes' improved modified meantone (1807); Prinz's theoretical well temperament (1808); John Marsh's 4/25 syntonic meantone (1809); Alexander Metcalf Fisher's modified meantone (1818); Johann C. Gottlieb Graupner's quasi-equal (1819); Johann Nepomuk Hummel's equal-beating quasi-equal & viennese quasi-equal (1829); Alexander J. Ellis' "new equal-beating" (1885); Victorian's well temperament (1885); Howard Willet Pyle's equal-beating quasi-equal (1906);
Gioseffo Zarlino: Kanon in Intervallumkehr. Aus den „Istitutioni harmoniche", Band 3, p. 152. Literatur: Michael Lamla, "Pier Francesco Valentini, Romano Micheli, Sante Naldini und der Grabstein der Päpstlichen Sänger", in: Studien zur italienischen Musikgeschichte 15 (1998), Bd. 1, S. 115-144 (= Analecta Musicologica Bd. 30). Music Video: Michael-Hubert Lamla (http•••)
Claudio Merulo Cristo Colombo Monk Urbano Annibale Padovano Adrian Willaert Cipriano Rore Gioseffo Zarlino Andrea Gabrieli Gabrieli Cavazzoni Jacques Buus Girolamo Parabosco 1490 1532 1533 1535 1558 1565 1568 1590 1598 1604
L'ORGANO NELLA VENEZIA DEL XVI SECOLO 04 - Claudio Merulo +••.••(...)) - Kyrie "Missa in dominicis diebus" (Messe d'intavolatura d'organo, 1568) Massimiliano Raschietti Organo del Duomo del SS. Corpo di Cristo di Valvasone +••.••(...)) Autor: Vincenzo Colombo Tastiera di 47 tasti (fa -1 / fa 4) senza i primi due diesis. Pedaliera a leggio di 20 tasti (fa -1 / re 2) senza i primi due diesis, costantemente collegata alla tastiera. Temperamento mesotonico, diapason: 1 tono sopra il la di 440 Hz. Pressione: 48 mm. - Tenori 12 - Ottava - Decimaquinta - Decimanona - Vigesimaseconda - Vigesimasesta - Vigesimanona - Flauto 3 - Fiffaro From the Middle Ages, thanks to trading with eastern and southern Mediterranean ports, the intellectual vitality of Arab culture and the artistic fervor of the Byzantine world had an influence on Venetian cultural life. The latter had quite a great impact on the development of Venetian aesthetic ideals: the taste for intense and varied colors, the predilection for gems and precious metals. The concept of Beauty thus combined the magnificence of the architecture and the meticulous attention to detail, which characterized as well the mosaic tradition with its clearly eastern origins. In Venice, St. Marks Cathedral was the religious center for the Doges, radiating music. Documents from 1316 regarding the Basilica witness the presence of a Mistro Zucchetto, organist and organ builder. At the end of 14th century, there were two organs: the called Organum magnum (by Jacobello, 1374) and the Organum parvum (anonymous Franciscan monk, 1388). In 1490, Brother Urbano built an organ, successfully repaired in 1558 by Vincenzo Colombo under the guidance of Merulo and Padovano. The fame of the performances in St. Marks, were illustrated, among others, by the Maestri di Cappella Adrian Willaert, Cipriano de Rore and Gioseffo Zarlino. During Zarlinos period +••.••(...)), the organists Claudio Merulo and Andrea Gabrieli, brought further prestige, continuing the tradition of Marc Antonio Cavazzoni, Jacques Buus, Annibale Padovano and Girolamo Parabosco. Claudio Merulo +••.••(...)) was described as a capable and extremely delicate player. He published two books of toccatas dintavolatura (1598 and 1604), transforming the organ toccata by introducing, between the two free and florid sections, a substancial polyphonic episode in strict imitative style - «Toccata quarta del sesto tono» and «Toccata quinta del secondo tono». One another imitative form was the canzone (originally born from the practice of transcribing French vocals chansons into keyboard tablature, subsequently transformed into a free paraphrase, keeping the title canzone alla francese or later canzone da sonare. Merulos «La Pazza» its a bizarre elaboration canzone of one of his original compositions for four instruments. The organ practice mostly closely connected with the liturgy was called alternatim, were choir and organ dialogued alternating verses of sacred pieces with antiphonal structure. The organists would elaborate on a cantus firmus, playing it one time in the soprano or bass with long notes, or creating a contrapuntal texture among the different voices, or composing a brief ricercar. This is the case in Merulos «Kyrie» from the «Messe dintavolatura dorgano». We know that this repertory was improvised and that improvisation was an integral part of organ performance. This is evidenced by the tests aspiring organists had to pass in order to obtain a position at St. Marks.
Benedictus Appenzeller Alexander Blachly Heinrich Glarean Gioseffo Zarlino Ockeghem Busnoys Lassus Palestrina Pomerium Festival Musica Holland Festival Festival Oude Muziek Utrecht 1455 1485 1521 1558 1972 1998
From the sacred motet for five voices "Verbum caro factum est" by Josquin Des Prez +••.••(...)). The motet is sometimes attributed to Benedictus Appenzeller +••.••(...)). Performed by Alexander Blachly & Pomerium; from the album: "Pomerium – Musical Book Of Hours" (1998). (http•••) (http•••) "During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame, with Luther declaring that "he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will." Theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. More than 370 works are attributed to him; it was only after the advent of modern analytical scholarship that some of these attributions were challenged, and revealed as mistaken, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and virtually nothing is known about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of less revered Renaissance composers are better documented than that of Josquin." (http•••) "POMERIUM was founded by Alexander Blachly in New York in 1972 to perform music composed for the famous chapel choirs of the Renaissance. (The name—medieval Latin for “garden” or “orchard”—derives from the title of a treatise by the 14th-century music theorist Marchettus of Padua, who explained that his Pomerium in arte musice mensurate contains the “flowers and fruits” of the art of music.) Widely known for its interpretations of Du Fay, Ockeghem, Busnoys, Josquin, Lassus, and Palestrina, the 15-voice a cappella ensemble has performed for numerous international festivals, including the Festival di Musica Sacra Bressanone e Bolzano (Brixner Initiative), the Tage Alter Musik festival in Regensburg, Germany, the Flanders Festival Antwerp, and the Holland Festival Oude Muziek Utrecht." (http•••)
ou
- chronologie: Compositeurs (Europe). Interprètes (Europe).
- Index (par ordre alphabétique): Z...