N ON AVRÀ MA PIETÀ/QUANDO CON GRAN TEMPESTA/NON VIVAM ULTRA

Size: px
Start display at page:

Download "N ON AVRÀ MA PIETÀ/QUANDO CON GRAN TEMPESTA/NON VIVAM ULTRA"

Transcription

1 N ON ARÀ MA PIETÀ/QUANDO CON GRAN TEMPESTA/NON IAM ULTRA T.T.B.B. voices LANSING MCLOSKEY

2 Lansing McLoskey SATTBB Duration: approximately 4 minutes Scored for a six part chamber choir (solo voices to no more than three voices per part), is based on the ballata Non avrà ma pietà by the Italian composer Francesco Landini ( ). Though the text of the Landini piece is found solely in the upper to voices, the music itself acts as a source for melodic, rhythmic, and harmonic material in varying degrees throughout the entire texture, similar to the parody technique used by Renaissance composers. The ork is a triple texted motet, a genre hich flourished in various forms from roughly 1250 through In the original double and triple texted motets, the upper texts ere French or Italian secular poems - usually of a romantic nature - that related to or commented on the loer text, hich as often the opening line or excerpt from a sacred text from the Latin liturgy. Such is the case here, though instead of each text being sung by a single voice, each poem is found in to paired voice parts. In keeping ith the spirit and tradition of early music, the piece is ritten in predominantly hite-note notation (semi-breves minims) ith the semi-breve as the basic duration or "tactus." Likeise, there are no tempo, phrasing, or dynamic markings given. This does not by any means signify that the piece should be performed monotonously ithout shape, direction, or emotional content; quite the contrary! Just as an ensemble ould approach a piece by Landini, Dufay, or Josquin and use common sense as ell as personal creative imagination to bring the music to life, so I expect an ensemble to breath life into these notes. The exact interpretation may vary from performance to performance, but many of the gestures and emotional climaxes in the piece obviously lend themselves to a certain treatment, and any interpretation of the details sung ith conviction ill be successful. As a general rule, the vocal techniques and qualities should be similar to those used hen singing early music; that is, a very pure, focused style, both in regards to tone as ell as approach to rhythm. Though the poems are in old-italian, modern pronunciation may be used. For ex., "faj" is pronouned "fai," "bellecça" is pronounced "bellezza," and "lej" is pronounced "lei." 1991, Odhecaton Z Music (BMI)

3 TEXTS AND TRANSLATIONS 1 TRIPLUM (SOPRANO ALTO): Non avrà ma pietà questa mie donna. She ill never have mercy this lady of mine. Se tu non faj, amore You must see to it, love Ch ella sia certa del mio grande ardore. that she is certain of my great ardor. S ella sapesse quanta pena i porto If she kne ho much pain I bear - Per onestá celata nella mente for honor s sake concealed in my mind - Sol per la sua bellecça, che conforto only for her beauty, other than hich D altro non prende l anima dolente, nothing gives comfort to a grieving soul, Forse da lej sarebbonó in me spente perhaps by her ould be extinguished in me Le fiamme che la pare the flames hich seem to arouse in there Di giorno in giorno acrescono l dolore. from day to day more pain. DUPLUM (TENORS): Quando con gran tempesta un aqua venne, Quand io ricoverai choi mio falcone, Dove una pasturella il cor mi punse. Sola era li onde fra me dicea, Eccho la pioggia, Eccho Dido et Enea. hen suddenly a storm broke and rain pelted don, I found shelter ith my falcon In a place here a shepherdess pierced my heart. She as alone there, and I said to myself, There is the rain; Here are Dido and Aeneas. TENOR (BASSES): Non vivam ultra, sed descendam in infernum plo May I live no longer, but descend into hell eeping. 1 The triplum text is the text of the Landini piece in it s entirety. The duplum text is a line from the caccia Chon Brachi Assai by the 14 th century composer Giovanni da Firenze, and the tenor text is a line from Josquin s Absalon, fili mi, hich is in turn a compilation of phrases from Job 7, II Samuel 18, and Genesis 37.

4 Non avrà ma' pietà/quando con gran tempesta/non vivam ultra Superius (h»ª - º) 1 b # b Lansing McLoskey b Altus Non a - vrà b ma' pie - # Non 6 n tà que - sta mie don - b # # # b a - vrà ma' pie - tà que - sta mie don - 11 na, na,. Quan - n Se n n n Se tu b non b n tu # # faj, a - # do non faj, Œ # mo - # a - mo - con # Quan - # do con gran tem - n Non Non # vi - Odhecaton Z Music (BMI)

5 2 16 n # Πre, # # gran tem - pe - pe - Πvi - re, Ch'el - n Ch'el - n b sta sta b n # # Πb un' a - qua ven - Πun' vam vam. # n # ne, a - qua ven - # la la ne, sia 21. b b n cer - ta sia cer - ta. b del mio del mio b n gran - de ar - gran - de ar - do - do -

6 26 # # re. re.. n b b S'el - la S'el - n # sa - pes - # # la sa - pes - Œ 3 Quan - d'io re - co - n # ve - rai choi mio # Quan - d'io re - co - ve - rai # # ul - tra, # sed de - n ul - tra, sed de - 31 # # # # # #. # # se se quan - ta pe - na i' # # quan - ta pe - na # por - # # i' po - Œ #. to n to # fal - co - n ne, n Do - # ve n choi mio fal - co - Œ. ne, # Do - [e] - scen - # dam n scen - dam

7 4 35. Per Œ b b b # n b o - # n ne - Per # o - ne - stá ce - un - a. pa - stu - rel - b la'il cor, ve un - na pa - stu - rel - la'il. cor, in in in -. b. in - fer - fer # b #. j stá ce - b la - ta Œ # la - ta b nel - la - nel - la - Œ n men - n n men - # cor mi, Œ cor mi pun - cor mi, cor # mi pun - num num plo - plo -

8 44 5 te # te n b se. # n b So - se. So - # la # 48 n # # # n la b e - ra # e - ra li on - li on - n 52 n # # Sol # n per la su - # n a be - #. n # lec - # # de fra me di - ce - de

9 6 57 n. # n ça, che # b con - for - n # to n D'al - tro a, # # "Ec - cho Sed # Sed 61 b b. n non pren - # n n de D'al - #.. b # l'a - ni - ma tro n n non do - # n pren - "Ec - cho la n #.. piog - b gia, # ec - cho la n #.. la piog - gia, # n # ec - cho la piog - # n # de - scen - de - scen - # dam # dam in # #. #. in in -

10 65 b n b b 7 len - b b. # n de l'a - ni - ma piog - n gia, # ec - cho gia, # n ec - cho # # ec - cho in - # fer - num # fer - num 69 b b. te, # D'al - tro non pren - de do - len - # # # te, n D'al - tro non pren - de ec - cho Di - Πn do n. Di - ec - cho Di - #. # do et E - ne - a." So - la b er - ra li b plo - b Non vi - vam ul - tra, b plo - Non vi - vam ul - tra,

11 8 74 n #. l'a - ni - ma # l'a - ni - ma do - len - te, # do - len - te, For - se da. For - se da lej n lej # do # et n E -. ne - on - de fra me b di - ce - a,. "Ec - cho sed n de - scen - dam in in - fer - num plo -. b sed de - scen - dam in in - fer - num plo - 79 # #. # # sa - re - bon - # nó'in me spen - # n te b b n sa - re - bon - # nó'in me spen - # te ("a") # a." # n b Di - b do et E - ne - a." n ("a") b ("a") n b ("a")

12 85 9 Le fiam -.. me che la Πpa -, b. n. # # ("a") # #. Πb 91 Π#. re b Di gior - # n b no'in gior - Le fiam - me. # che la pa - re # di gior - n Π#. #

13 10 97 # # # no no'in gior - # a - cres - no # a - cres - co - # co -.. # Π#. # n n 102 # # no'l do - b no'l do - b Di - Di -

14 107 b, b 11 n b lo - lo -,, n do #, et n do b n, et plo -, plo #.. n #.. #.. re. n re. 2 6 E - #. ne -. a. 2 6 E - #. ne -. a DEO GRA- TIAS

FOURTEENTH-CENTURY ITALIAN CACCE

FOURTEENTH-CENTURY ITALIAN CACCE THE MEDIAEVAL ACADEMY OF AMERICA PUBLICATION No. 39 FOURTEENTH-CENTURY ITALIAN CACCE to: fu fu Tu fu ct^bcl tcm p>.1\ Ucttai can tctr tree uieutc pnmem tc..^r ncllj pi.-y^ia Atvunnct olbi tni^iieibniccbittsinut

More information

Guillaume Du Fay. Vergene bella che di sol vestita. Opera Omnia 01/23. Edited by Alejandro Enrique Planchart

Guillaume Du Fay. Vergene bella che di sol vestita. Opera Omnia 01/23. Edited by Alejandro Enrique Planchart Guillaume Du Fay Opera Omnia 01/23 Vergene bella che di sol vestita Edited by Alejandro Enrique Planchart Marisol Press Santa Barbara, 200 Guillaume Du Fay Opera Omnia Edited by Alejandro Enrique Planchart

More information

Come stà. Domenico Maria Ferrabosco (Bologna 1513-1574) Cantus. - ta, _e vo - lon - tie - ri M'al -le-gro _e can -to _en. Io mi son gio vi.

Come stà. Domenico Maria Ferrabosco (Bologna 1513-1574) Cantus. - ta, _e vo - lon - tie - ri M'al -le-gro _e can -to _en. Io mi son gio vi. Cantus Altus Io mi son giovinetta Come stà Domenico Maria Ferrabosco (Bologna 1513-1574) Io mi son gio - vi -net - ta, _e vo - lon - tie - ri M'al -le-gro _e can -to _en Io mi son gio - vi - net - ta,

More information

Powerful PowerPoint for Educators: Using Visual Basic for Applications to Make PowerPoint Interactive

Powerful PowerPoint for Educators: Using Visual Basic for Applications to Make PowerPoint Interactive Powerful PowerPoint for Educators: Using Visual Basic for Applications to Make PowerPoint Interactive David M. Marcovitz LIBRARIES UNLIMITED Pow er ful PowerPoint for Ed u ca tors Us ing Vi sual Ba sic

More information

Your guide to ABRSM music exams. Instruments and Singing: Grades 1 to 8

Your guide to ABRSM music exams. Instruments and Singing: Grades 1 to 8 Your guide to ABRSM music exams Instruments and Singing: Grades 1 to 8 00 Contents Introduction 2 About our exams 3 The exam elements 4 Pieces or songs Scales and arpeggios Unaccompanied traditional song

More information

ni - do_in che la mia fe - ni - ce

ni - do_in che la mia fe - ni - ce anto = h É questo l ni in che la mia fenice Oratio igrini 792, no. 8 É que - sto_ l ni - _in che la mia fe - ni - ce Mi - se l au - ra - te_et Sesto lto Quinto In che la mia fe - ni - ce Mi - se l au -

More information

CAN I DIE? DERRIDA ON HEIDEGGER ON DEATH. Iain Thomson PHILO SOPHY TODAY SPRING 1999 29

CAN I DIE? DERRIDA ON HEIDEGGER ON DEATH. Iain Thomson PHILO SOPHY TODAY SPRING 1999 29 CAN I DIE? DERRIDA ON HEIDEGGER ON DEATH Iain Thomson No one believes in his own death. Or, to put the same thing in another way, in the un con - scious every one of us is convinced of his own immortality.

More information

Advanced Fixed Income Callable Bonds Professor Anh Le

Advanced Fixed Income Callable Bonds Professor Anh Le 1 What are callable bonds? When you take out a fixed rate mortgage to buy a house, you usually have the option of pre paying the mortgage. The common term to use is to refinance. And people would refinance

More information

The bibliography for Ockeghem s famous puzzle canon Prenez sur moi vostre

The bibliography for Ockeghem s famous puzzle canon Prenez sur moi vostre Prenez sur moi vostre exemple: The clefless notation or the use of fa-clefs in chansons of the fifteenth century y Binchois, Baringant, Ockeghem an Josquin Peter Woetmann hristoffersen The iliography for

More information

How to Read Like a Writer

How to Read Like a Writer How to Read Like a Writer by This essay is a chapter in Writing Spaces: Readings on Writing, Volume 2, a peer-reviewed open textbook series for the writing classroom. Download the full volume and individual

More information

the hour we knew nothing of each other Education The Hour We Knew Nothing of Each Other by Peter Handke from a new translation by Meredith Oakes

the hour we knew nothing of each other Education The Hour We Knew Nothing of Each Other by Peter Handke from a new translation by Meredith Oakes Education The Hour We Knew Nothing of Each Other by Peter Handke from a new translation by Meredith Oakes Workpack The National s production 2 The play 2 The space 3 In rehearsal Journeys Telling Stories

More information

What is Good Writing?

What is Good Writing? Full Version What is Good Writing? More More information Visit ttms.org by Steve Peha 2 The best way to teach is the way that makes sense to you, your kids, and your community. www.ttms.org 3 What is Good

More information

POETRY AS THERAPY. by Perie J. Longo, Ph.D., LMFT., PTR (Registered Poetry Therapist)

POETRY AS THERAPY. by Perie J. Longo, Ph.D., LMFT., PTR (Registered Poetry Therapist) POETRY AS THERAPY by Perie J. Longo, Ph.D., LMFT., PTR (Registered Poetry Therapist) It is difficult to get the news from poems yet men die miserably every day for lack of what is found there. --William

More information

What Do Students Need to Know About Rhetoric? Hepzibah Roskelly University of North Carolina Greensboro, North Carolina

What Do Students Need to Know About Rhetoric? Hepzibah Roskelly University of North Carolina Greensboro, North Carolina What Do Students Need to Know About Rhetoric? Hepzibah Roskelly University of North Carolina Greensboro, North Carolina The AP Language and Composition Exam places strong emphasis on students ability to

More information

Acknowledging, Paraphrasing, and Quoting Sources

Acknowledging, Paraphrasing, and Quoting Sources Acknowledging, Paraphrasing, and Quoting Sources When you write at the college level, you often need to integrate material from published sources into your own writing. This means you need to be careful

More information

The Chinese Written Character as a Medium for Poetry

The Chinese Written Character as a Medium for Poetry The Chinese Written Character as a Medium for Poetry BY ERNEST FENOLLOSA [ This essay was practically finished by the late Ernest Fenollosa; I have done little more than remove a few repetitions and shape

More information

Learner Guide. Cambridge IGCSE First Language English. Cambridge Secondary 2

Learner Guide. Cambridge IGCSE First Language English. Cambridge Secondary 2 Learner Guide Cambridge IGCSE First Language English 0500 Cambridge Secondary 2 Cambridge International Examinations retains the copyright on all its publications. Registered Centres are permitted to copy

More information

how to use dual base log log slide rules

how to use dual base log log slide rules how to use dual base log log slide rules by Professor Maurice L. Hartung The University of Chicago Pickett The World s Most Accurate Slide Rules Pickett, Inc. Pickett Square Santa Barbara, California 93102

More information

Please see also http://redemptivechristianity.com/?p=214 for a review of my work by Professor William Webb, a Canadian theologian and author.

Please see also http://redemptivechristianity.com/?p=214 for a review of my work by Professor William Webb, a Canadian theologian and author. A message from the Author Dear friend, It has now been over six years since this book first appeared in print and I have definitely been pleased with some of the feedback that I have gotten from it. I

More information

the im pac t of the arts on l earning

the im pac t of the arts on l earning C H A M P I O N S O F C H A N G E the im pac t of the arts on l earning ARTS EDUCATION PA R T N E R S H I P The Arts Edu c a ti on Pa rtn ership (form erly known as the Goals 2000 Art s E du c a ti on

More information

Fundamentals of Piano Practice

Fundamentals of Piano Practice Fundamentals of Piano Practice by Chuan C. Chang To my wife Merry and our daughters Eileen and Sue-Lynn The material of Chapter One originated from my notes on how the late Mlle. Yvonne Combe taught our

More information

Composition as Explanation Gertrude Stein

Composition as Explanation Gertrude Stein Composition as Explanation Gertrude Stein First delivered by the author as a lecture at Cambridge and Oxford, this essay was first published by the Hogarth Press in London in 1926 and revived in the volume

More information

Teacher s Guide. Love That Dog and Hate That Cat. by Sharon Creech. About the Book: Love That Dog

Teacher s Guide. Love That Dog and Hate That Cat. by Sharon Creech. About the Book: Love That Dog by Sharon Creech Teacher s Guide About the Book: Love That Dog I don t ant to, begins Jack, the narrator of Love That Dog. Can t do it. / Brain s empty. Jack s story is told as a narrative poem: It chronicles

More information

SECOND GENERATION OR GENERATION OF CHANGE? THE IMPACT OF SECOND GENERATION IMMIGRANTS ON THE PRESENT AND THE FUTURE OF ITALIAN SOCIETY

SECOND GENERATION OR GENERATION OF CHANGE? THE IMPACT OF SECOND GENERATION IMMIGRANTS ON THE PRESENT AND THE FUTURE OF ITALIAN SOCIETY SECOND GENERATION OR GENERATION OF CHANGE? THE IMPACT OF SECOND GENERATION IMMIGRANTS ON THE PRESENT AND THE FUTURE OF ITALIAN SOCIETY Federico Zannoni 1 Abstract: Migration and the ensuing multiculturalism

More information

O PINION: The Cultures of Literature and Composition: What Could Each Learn from the Other?

O PINION: The Cultures of Literature and Composition: What Could Each Learn from the Other? O PINION: The Cultures of Literature and Composition 533 O PINION: The Cultures of Literature and Composition: What Could Each Learn from the Other? Peter Elbow he history of relations between composition

More information

ASKING MORE EFFECIVE QUESTIONS. William F. McComas and Linda Abraham Rossier School of Education

ASKING MORE EFFECIVE QUESTIONS. William F. McComas and Linda Abraham Rossier School of Education ASKING MORE EFFECIVE QUESTIONS William F. McComas and Linda Abraham Rossier School of Education Introduction From the development of the Socratic method, to the 1860 edition of Barnard s American Journal

More information

Paul Kloosterman. > What do I want/need to learn? > How can I learn it? > When will I learn? > Who can help me learn it?

Paul Kloosterman. > What do I want/need to learn? > How can I learn it? > When will I learn? > Who can help me learn it? 30 B1 How to support learning Paul Kloosterman This chapter aims to help you get to grips with the term learning in relation to concrete activities in the Youth in Action Programme. Different methods and

More information

The Grace That Shaped My Life

The Grace That Shaped My Life The Grace That Shaped My Life NICHOLAS WOLTERSTORFF Nicholas Wolterstorff has a joint appointment in the divinity school and the philosophy and religion departments of Yale University. Prior to joining

More information

Eamonn Keogh Dept. of Computer Science & Engineering University of California, Riverside Riverside, CA 92521

Eamonn Keogh Dept. of Computer Science & Engineering University of California, Riverside Riverside, CA 92521 isax: Indexing and Mining Terabyte Sized Time Series Jin Shieh Dept. of Computer Science & Engineering University of California, Riverside Riverside, CA 95 shiehj@cs.ucr.edu Eamonn Keogh Dept. of Computer

More information

STEELE, SUSANNAH, D.M.A. Nikolai Kapustin s Ten Bagatelles, Op. 59 (2013) Directed by Dr. John Salmon. 95 pp.

STEELE, SUSANNAH, D.M.A. Nikolai Kapustin s Ten Bagatelles, Op. 59 (2013) Directed by Dr. John Salmon. 95 pp. STEELE, SUSANNAH, D.M.A. Nikolai Kapustin s Ten Bagatelles, Op. 59 (2013) Directed by Dr. John Salmon. 95 pp. Russian composer Nikolai Kapustin (b. 1937) has written a considerable body of repertoire for

More information