Home » Posts tagged 'music history'
Tag Archives: music history
The Lute Part XII
When Henry VIII (1491 – 1547) ascended to the throne of England in 1509, the lute did not play the prominent role in English society and culture it would come to hold by the end of the 16th century. In addition to his matrimonial activities, waging war in France, and reforming the church, it is well known that Henry VIII was an enthusiastic musician, and even composer. He invigorated and developed the musical aspects of life at the English court in the first half of the 16th century far beyond what they had been under previous English monarchs, employing dozens of musicians, including lutenists (or lewters, as they appear in contemporary account books).
Before Henry VIII, the English court was still heavily influenced by Burgundian culture, and use of the harp superseded the lute there until the end of the 15th century. The lute rose to prominence in England by the second half of the 16th century, lagging behind much of the continent by a couple of generations.
In 1735, when Sebastian was 50 years old, he published his second volume of keyboard works, Clavier-Übung II (“Keyboard Practice II”). It contains two pieces for double-manual harpsichord: Concerto nach Italienischen Gusto (Concerto in the Italian taste, now known at the Italian Concerto, BWV 971), and Ouvertüre nach Französischer Art (Overture in the French Style, or simply the French Overture, BWV 831).
That Sebastian chose to pair these two works in the same publication paid homage to the old tradition (by his time) for composers to seek a harmonious way (or perhaps take sides) between the perceived opposition of French and Italian musical styles – an argument that had been carried on in European musical circles for centuries. This discussion is a part of Sebastian’s œuvre too, and was influenced by the work of his contemporary François Couperin (1668-1733) and his “les Goûts réunis” or “reunited tastes”, which was published in 1724. Although Sebastian and Couperin never met, they corresponded with each other. The subjects of their letters has long been a tantalizing mystery to Bach scholars, as the letters were subsequently used as lids for jam pots and thus destroyed. Since Couperin had died two years before Clavier-Übung II was published, it is possible that in his own way, Sebastian also intended the volume as an homage to Couperin himself – or as a rebuttal or commentary on the various merits of each style .
Off The Podium Reflections, Statistics, and Top Ten Posts
In what is becoming an annual tradition, here I review my experience writing Off The Podium over the course of the year and share some statistics. We will also see if I have learned anything and I will attempt to describe what this blog – which sometimes goes off in unexpected directions – is all about.
2017 was a very full year, packed with many significant events and activities. Off The Podium continues to provide a great means to share the activities of the department of Education & Community Engagement at the Nashville Symphony with the world. It also remains a productive format that has inspired me to continue to develop my writing on the topics of Music and Education – these features of Off The Podium reach thousands of readers all over the world and have brought me into contact with many musicians and educators I would otherwise have had no opportunity to meet or correspond with.
Thank you everyone for your continued encouragement and support.
When I first met Dr. Matthew Phelps nearly two years ago, one of the first things he shared with me was his desire to present Sebastian’s Christmas Oratorio BWV 248 at West End during the advent season. I was excited to hear this, since the Christmas Oratorio is rarely performed compared to Sebastian’s other large scale choral works like the Passions and the B minor Mass, and I had never heard it performed live before. So when I found out earlier this fall that it was happening this year, I marked my calendar and made sure I could be there. (more…)
This week marked the 500th anniversary of the Reformation. On October 31, 1517, Martin Luther posted his Ninety-Five Theses to the door of the Castle Church in Wittenberg, Germany. This protest against the sale of indulgences by the Catholic Church led to the social, cultural, and philosophical revolution we now call the Reformation – which in turn led to many changes in the abilities of governments and religions to control the personal lives of individuals in Western Civilization, among other things.
On Tuesday, September 12, the Nashville Symphony hosted a press conference at Schermerhorn Symphony Center to announce the city-wide collaboration effort to bring the world-famous Violins of Hope to Nashville in the spring of next year.
A diverse array of local organizations – including the Nashville Symphony, Jewish Federation of Nashville and Middle Tennessee, Nashville Public Library, Nashville Ballet, Frist Center for the Visual Arts, Vanderbilt University, Blair School of Music and many more – will bring this rare collection of instruments – the majority of which were played by Jewish musicians interned in concentration camps during the Holocaust – to Nashville from Israel in mid-March 2018.
Restored and refurbished by Israeli luthiers Amnon and Avshi Weinstein, the Violins of Hope will be the centerpiece of a months-long initiative designed to foster a city-wide dialogue on music, art, social justice and free expression.
Singing canons is a wonderful way to help young singers develop independence, sing harmony and polyphony, and all with material that takes much less time to learn than music cast in more than one part. In strict canon, everyone sings the same part: we all learn the same melody and text together, and once it’s solid split up the group, start singing it at different times, and presto! musical magic.
Canons can be simple enough for very young children to learn in a few minutes or so challenging that professional choirs must exert considerable effort to sing them well. With a broad repertoire of canons on the tip of her tongue, the skilled music teacher is ready to make or teach satisfying music with students of any level, for any occasion, at any time or place.
Over the course of my teaching career I taught dozens of canons to students of all ages: rounds with students beginning in Kindergarten, catches with more experienced singers (usually by third grade). We sang canons about everything: happy and sad canons, silly canons, canons about love, animals, God, food, about music itself. Canons in English, Latin, French, German, Russian. Canons. One of the most important canons I tried to teach to all of my students over the years is the ancient Sumer Is Icumen In, which I have written in detail about here.
Another fabulous canon which I taught to hundreds of students from elementary through high school, and which is the subject of today’s article, is the indignant and difficult “chiding” catch Fie, Nay, Prithee John by the great Henry Purcell. And yes, by teaching this song, I taught my students to swear.
I was thrilled this week to be a part of this season’s Jazz OnStage: an exciting part of the OnStage series of free chamber music concerts at the Nashville Symphony.
The OnStage series is a longstanding part of the Nashville Symphony’s community engagement programming – I’ve written about these programs in a number of previous posts here on Off The Podium. The concept behind OnStage is simple: on selected weeknights throughout the season, Nashville Symphony musicians present an early evening chamber music concert in which the audience is seated on the stage with the musicians, and the program includes the opportunity for dialogue between the musicians and the audience.
The Lute Part V
In which I offer some observations about the instruments themselves and how they were tuned
If someone finds out that I play the lute, it’s not uncommon to be asked: “oh…what is that?” I’ve even been asked “do you blow it?” once or twice. For non-lutenists – and especially non-musicians – distinctions between this or that lute are esoteric details.
But when one lutenist meets another and they both realize their common pastime (or obsession), often the first question that comes up is: do you play renaissance or baroque?
The Lute Part XI
Music Printer to the King: Pierre Attaingnant
In 1529, Pierre Attaingnant published the first book of lute tablature to be issued in France: Tres breue et famílíere introduction pour entendre & apprendre par soy mesmes a iouer toutes chansons reduictes en la tablature du Lutz. (Brief and simple introduction for understanding and learning for oneself how to play any song reduced to tablature for the lute.) Hereafter: Introduction.
This first volume of lute pieces to be printed in France – a collection of preludes and chansons – was followed less than four months later by a second volume – Dixhuit basses dances: 18 basses dances as well as branles, pavanes, galliards, and other dances in lute tablature.
Together, these two small books comprise the humble beginning of the long tradition of French lute music, which was eventually to dominate the solo lute repertoire throughout the continent. By the middle of the 17th century, “French lute” would represent the apotheosis of refined expression in instrumental music and the repertoire of the French lutenists would in turn influence the fledgling keyboard repertoire… but that’s getting considerably ahead of our story.