Lupus Hellinck Video
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Lupus Hellinck Antonio Cabezón Nimura Cifra Hernando Cabezón 1510 1541 1565 1566 1570 1602
Socre & MP3 by Shigekazu Nimura, a member of Aeolian Consort. Web site of Aeolian Consort (http•••) Obras de Musica para Tecla Arpa y Vihuela, de Antonio de Cabeçon, Musico de la Camara y Capella del Rey Don Phippe nuestro Señor. Recopiladas y Puestas en Cifra por Hernando sw Cabeçon su hijo. Ansi mesmo de Camara y Capella de su Magestad.(Madrid, 1570) Antonio de Cabezón+••.••(...)) Hernando de Cabezón+••.••(...)) / Son of Antonio Juan de Cabezón(ca.1510 - 1565) / Brother of Antonio These series of mine are the complete original setting version, not fitting for Recorder ensemble. genre K = Los motetes de a cinco y canciones glosados
Lupus Hellinck Mach Tielman Susato Church Our Lady Museum Fine Arts 1493 1494 1495 1498 1500 1506 1511 1513 1515 1518 1519 1521 1523 1530 1539 1541 1550 1551
Performed by the Medelike Consort. Lupus Hellinck (also Wulfaert) (1493 or 1494 / c. 14 January 1541) was a Flemish composer of the Renaissance. He was a prominent composer of masses, as well as German chorales and motets. Although he was a Roman Catholic all of his life, his music shows evidence of sympathy for the Protestant Reformation, and three of his motets—including a famous setting of In te domine speravi—were probably inspired by the prison writings of the martyred reformer Girolamo Savonarola. Hellinck was probably born in Axel. Little else is known about him until he appears as a choirboy in Bruges at St. Donatian on 24 March 1506. He left in 1511 to go to school, returning to St. Donatian in 1513 as a cleric, where he stayed until 1515. By June 1518 Hellinck was probably in Ferrara, in the employ of Sigismondo d'Este (that this was the same "Lupus" has been disputed, but scholarly consensus is emerging that both composers named Lupus were the same); about a year later he returned to the Low Countries, and by October 1519 was back in Bruges, where he was again employed at St. Donatian. In 1521 he became a succentor at the nearby Church of Our Lady, and he returned again to St. Donatian in 1523 to serve in the same position there. Hellinck seems to have remained in Bruges for the rest of his life. One event which is recorded gives an indication of his attitude towards the Protestant Reformation: his participation, in 1539, in a dramatic competition at Ghent, in a production of a play which was later placed by the Catholic Church on the Index of banned books. Along with his widely-distributed setting of In te domine speravi, and his two settings of the Miserere (Psalm 6 and Psalm 50, respectively), all of which have been seen as tributes to the executed reformer Savonarola, this indicates his sympathy, if not his active participation in the movement for ecclesiastical reform. Biography on wikipedia.org: (http•••) In "Nieuwe almanack ende pronosticatie" (New almanac and prognostication), the exclamation refers to a children's bishop: on Holy Innocent's Day ('Alderkindrendach'), the feast of the children's bishop was celebrated. One of the choirboys was elected bishop, and a more or less blasphemous mass was sung. Singing masters were supposed to write songs for this festival. As choirmaster of St. Donatian's Church in the same city, we may assume that similar obligations applied to him and that he composed this song for Holy Innocent's Day Source: (http•••) Dutch lyrics: Nieuwe almanack ende pronosticatie! Van deser Alderkindrendach! Schrieft onsen biscop bij gratie, Elck wilse lesen als hij mach. Al is hij nu int pronken fijn, Bachus sal hem verblijden: Hij sal noch tavent droncken sijn En al die met hem rijden. Maer Pierken en Maijken / Grietgen en Claicken, Siet dat ghij niet swicken slaet. Te nacht omtrent twaelf hueren, Als die wijser rechte staet, Dan ist goet creatueren. Song published in Tielman Susato's Ierste Musyck Boexken in Antwerp in 1551. Pictures on the video: 1. Prelude: 00:07 A wall, remnant of the old St. Donatian's Church, Bruges 2. Details of paintings by or attributed to Ambrosius Benson (c.1495/1500, Ferrara or Milan - 1550, Flanders) 00:16 The Virgin and Child with Saint Anne, Scottish National Gallery, Edinburgh 00:35 Deipara Virgo, Royal Museum of Fine Arts, Antwerp 01:08 Lucretia, First Wife of Lucius Colatinus Tarquinius 01:25 Detail of a fragment of a painting, representing a Pieta at the Foot of the Cross, c. 1530, Bilboko Arte Ederren Museoa, Bilbao 3. Coda: 01:39 Portrait of Girolamo Savonarola with whom Hellinck would have been sympathising, c. 1498, Fra Bartolomeo.
Lupus Hellinck Johannes Lupi Angeli Savoie Musée Beaux Arts 2019
Available on Hyperion Records (Downloads - mp3, ALAC, FLAC / CD) (http•••) Get on iTunes (http•••) Featured Extracts 6 - Qui tollis peccata mundi, miserere 29 - Tu rex gloriae 39 - In te, Domine, speravi Album Contents Missa Surrexit pastor bonus [32'09] Lupus Hellinck 1 - Kyrie 2 - Christe 3 - Kyrie II 4 - Gloria in excelsis Deo 5 - Domine Deus, agnus Dei 6 - Qui tollis peccata mundi, miserere 7 - Credo in unum Deum 8 - Et incarnatus est 9 - Et homo factus est 10 - Et resurrexit tertia die 11 - Et in Spiritum Sanctum 12 - Sanctus 13 - Osanna I 14 - Benedictus 15 - Osanna II 16 - Agnus Dei I 17 - Agnus Dei II Salve celeberrima virgo [9'40] Johannes Lupi 18 - Salve celeberrima virgo 19 - Haec est illa dulcissima Quam pulchra es [6'48] Johannes Lupi 20 - Quam pulchra es 21 - Veni, dilecte mi Benedictus Dominus Deus Israel [3'49] Johannes Lupi 22 - Benedictus Dominus Deus Israel 23 - Honor, virtus et potestas Te Deum laudamus [17'55] Johannes Lupi 24 - Te Deum laudamus 25 - Tibi omnes angeli 26 - Sanctus, sanctus, sanctus 27 - Te gloriosus apostolorum chorus 28 - Te per orbem terrarum 29 - Tu rex gloriae 30 - Tu ad liberandum 31 - Tu ad dexteram 32 - Te ergo quaesumus 33 - Aeterna fac cum sanctis tuis 34 - Salvum fac populum tuum 35 - Et rege eos 36 - Per singulos dies 37 - Dignare, Domine 38 - Miserere nostri 39 - In te, Domine, speravi Recording details: January 2019 Parish Church of St John the Baptist, Loughton, Essex, United Kingdom Produced by Mark Brown Engineered by David Hinitt Cover artwork: Descent of Christ into Limbo (c1482). French school, fifteenth century Musée des Beaux-Arts de Chambéry, Savoie / Bridgeman Images Photographer Credits: Alain Le Bourdonnec, Michèle Misan, Jana Jocif
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