|
||||||||||||||||||||||||||
.png) |
 |
|||||||||||||||||||||||||
|
|
|
|||||||||||||||||||||||
|
|
|
||||||||||||||||||||||
| 威廉·拜尔德（William Byrd,1543-1623） | |||||||||||||||||||||||
莎士比亚所听到的音乐威廉·伯德的《马车夫的口哨》
|
|||||||||||||||||||||||
|
|
|||||||||||||||||||||||
|
音乐历史上的今天
1607年4月3日，“人们说，天鹅在临死前歌声更加甜美。”威廉·拜尔德在《升阶曲集》（Gradualia）中写道。 |
|
||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 威廉·拜尔德（William Byrd,）。 | |||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 威廉·拜尔德（William Byrd）的《伯德的帕特尼娅》乐谱的一页，1613年。 | |||||||||||||||||||||||
| A page from the score of Byrd’s Parthenia, 1613 | |||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 威廉·拜尔德（William Byrd,） | |||||||||||||||||||||||
|
|
|||||||||||||||||||||||
|
Today in the
history of music April 3, 1607. "they say swans sing sweeter before they die.""Wrote William baird in graduate alia. William Byrd (1543-1623) was at the peak of the Renaissance, writing in the widest range of genres among the musicians of his time.From the mass of a cappella polyphonic choral, eclogue and eclogue to the English songs (songs) accompanied by lute, as well as the purely instrumental dance, lute, keyboard works for organ and harpsichord. Shakespeare (1564-1616) lived during the heyday of English art in the second half of the 16th century.At this time, British music also entered the most brilliant era, presenting a colorful scene, religious music and secular music Chambers to compete, and more deeply integrated with each other.William baird was one of the most outstanding English composers of this period. He was born in 1543 in lincolnshire, England.His first official job was as an organist at Lincoln church, where he also wrote music for services.He then moved to London in 1572 on the recommendation of thales, where he served with him as music superintendent of the royal church.Their successful partnership allowed them, three years later, to obtain queen Victoria's permission to import and print music exclusively in the UK for 21 years.This led to the publication of their first musical collection, thirty-four chants to the queen.Despite his commercial success, baird did not want to live in London for long.He retained his Catholic faith in a harsh Anglican climate;He not only composed music for his liturgy, but also paid homage to other catholics.Although his "political allegiance" to the church of England was never questioned, he was reluctant to get involved in too many political disputes.So after six years he left London to live in the country. Between 1588 and 1589, baird's teacher and friend thales and his wife died.Perhaps is feels the impermanence of the life!Over the next few years he published several volumes of music, including eclogues, keyboard compositions and Latin anthems, dedicated to secular royal patrons and Catholic supporters of the spiritual pillar.The rise of Catholicism in England after the accession of James I led to the publication of a selection of mass and two volumes of hymns in the hope of synthesizing a set of year-round, regular liturgical music.The popularity of the music allowed baird to buy stonton in Essex in 1593, move his family and live there for the rest of his life.In 1611 baird published his last collection of works, and his last works, including sacred and secular music, were published by a publisher a year after his death. Baird's works are full of emotional appeal, beautiful melody, exquisite and meticulous structure, is a typical English style.The music of viol and virgina created by baird is an early purely instrumental work with important historical significance.Baird's greatest works are three masses, which are three parts, four parts and five parts.The polyphonic musical structure presented by these three massages was almost unique in Europe at that time. Moreover, when composing the music, baird insisted on selecting only the words he was interested in, so as to make the music fully consistent with the content of the lyrics and thus enhance the artistic conception of the work.At the same time, the feelings and emotions expressed by the three masses are also diversified. For example, the three-part mass exudes a peaceful and optimistic mood, some passages of the four-part mass reveal an atmosphere of depression and despair, and the five-part mass exudes an uplifting and arrogant momentum.All this points to the fact that "personality" is developing more and more in music.In addition, "the Eucharist" is one of baird's most famous scripture songs. This gentle short song reflects the brilliance of human nature, and also shows baird's talent for creating melodies.Baird's most important works also include the liturgy and the chords of fantasia and chants that pioneered the English instrumental style. Today's video: 1. The music Shakespeare heard: the kaman whistle by William Byrd;2. Thales theme fantasia by Vaughan Williams. |
|
||||||||||||||||||||||
|
|
|||||||||||||||||||||||
|
|||||||||||||||||||||||
| 威廉·拜尔德（William Byrd,) | |||||||||||||||||||||||
| 拜尔德于1539年10月至1540年9月底出生于伦敦，是托马斯和马杰里·拜尔德的七个孩子之一（哈雷，拜尔德）。 到1572年，他被全职雇用为皇家教堂绅士，这是一群大约24名男性歌手和风琴师，负责为王室提供教堂音乐，她在女王从宫殿到宫殿的旅行中作为她的随行人员之一留在女王身边。 伯德是著名作曲家托马斯·泰利斯的化身，他与他共享皇室赞助，从1575年开始，他拥有一项21年的独家印刷音乐专利，并继续共同创作一本献给女王的神圣歌曲书。 在他活跃的一生中，拜尔德为各种乐器和声音创作了500多部作品，从简短的简单作品到非常复杂的大型作品。 | |||||||||||||||||||||||
| Byrd was born in London sometime between October 1539 and the end of September 1540, one of the seven children of Thomas and Margery Byrd (Harley, Byrd 4). By 1572, he was employed full time as a Gentleman of the Chapel Royal, the group of about twenty-four male singers and organists charged with providing church music for the royal household, who remained with the Queen as part of her entourage as she travelled from palace to palace. Byrd was a protégé of the noted composer Thomas Tallis, with whom he shared royal patronage, beginning in 1575 with an exclusive 21-year patent for printing music, and continuing with shared authorship of a book of sacred songs dedicated to the Queen. Throughout his active life, Byrd composed more than 500 works for diverse instruments and voices, ranging from short simple pieces to large works of great complexity. | |||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 霍默斯·泰利斯(Homas Tallis, 1505-1585） | |||||||||||||||||||||||
|
|
|||||||||||||||||||||||
|
霍默斯·泰利斯(1505年，生于肯特?他于1585年11月20日或23日在伦敦格林尼治去世)，是威廉·伯德之前英国最重要的宗教音乐作曲家之一。他的风格包括简单的宗教改革服务音乐和伟大的大陆复调学校，他的影响主要是引入到英国音乐。 关于泰利斯所受的教育，人们一无所知。1530-31年，他在多佛修道院担任管风琴手，1537年和1538年，他在伦敦的圣玛丽山，虽然不知道他以什么身份。1538年，他搬到了埃塞克斯的沃尔瑟姆修道院，他的名字出现在1540年因修道院解散而获得工资和报酬的人的名单上。离开沃尔瑟姆后，他似乎短暂地去了坎特伯雷大教堂，在那里他被列为歌手之一。1543年，他成为皇家礼拜堂的一员。在女王伊丽莎白一世的请愿书,会同伯德在1577年,他指的是“服务Majestie和罗亚尔祖先fortie这些年来,“但它认为,也许他有一些与法院在几年前被任命为皇家礼拜堂的一位绅士。他曾在亨利八世、爱德华六世、玛丽都铎和伊丽莎白一世手下任职。 1575年1月21日，伊丽莎白女王授予泰利斯和伯德在英国印刷乐谱和乐谱纸的垄断权;这是第一次为这一目的颁发专利证书。他们授权出版的第一本出版物是34本莫特诗集，其中17本是泰利斯的，17本是伯德的(也许指的是伊丽莎白统治至今的17年)，名为《圣歌集》，1575年由沃特罗利埃印刷。那些拉丁乐曲，再加上新教印刷商约翰·戴在他的某些笔记中印刷的五首英文歌词……(1565年发行，尽管1560年部分印刷)，构成了泰利斯在世时看到印刷的全部音乐。 泰利斯的拉丁文著作包括一篇不大的、不知名的四部分弥撒;一种由五部分组成的圣体，一种药膏，取自他的同名的反方;部分的质量;还有两个《金碧辉煌》的布景。他还对耶利米的哀歌做了两个背景，第一个是他最著名的作品之一。在他的拉丁作品中，有两首经常被引用来作为塔里斯对对位艺术至高的掌握的证明:七部分的《占卜的悲惨》，这是一种非凡的canonic写作的壮举，包括倒退的运动和几个程度的增加;和著名的由40个部分组成的经文歌，被认为是英国音乐中一个独特的纪念碑。 |
|||||||||||||||||||||||
|
Homas
Tallis, (born c. 1505, Kent?—died November 20 or 23, 1585,
Greenwich, London), one of the most important English composers
of sacred music before William Byrd. His style encompassed the
simple Reformation service music and the great Continental
polyphonic schools whose influence he was largely responsible
for introducing into English music. Nothing is known of Tallis’s education. In 1530–31 he held a post as an organist at Dover Priory, and in 1537 and part of 1538 he was at St. Mary-at-Hill, London, though it is not known in what capacity. He moved to Waltham Abbey, Essex, in 1538, and his name appears in a list of persons who in 1540 received wages and rewards for services at the dissolution of the abbey. From Waltham he appears to have gone briefly to Canterbury Cathedral, where he is listed among the singers. In 1543 he became a member of the Chapel Royal. In a petition to Queen Elizabeth I, made jointly with Byrd in 1577, he refers to having “served your Majestie and your Royall ancestors these fortie years,” but it is thought that perhaps he had some association with the court in the years before his appointment as a gentleman of the Chapel Royal. In that capacity he served under Henry VIII, Edward VI, Mary Tudor, and Elizabeth I. On January 21, 1575, Queen Elizabeth granted Tallis and Byrd the monopoly for printing music and music paper in England; that was the first instance of letters patent issued for that purpose. The first publication under their license was a collection of 34 motets, 17 by Tallis and 17 by Byrd (perhaps referring to the 17 years of Elizabeth’s reign to date), entitled Cantiones sacrae, printed by T. Vautrollier in 1575. Those Latin pieces, together with five anthems to English texts printed by Protestant printer John Day in his Certaine Notes… (issued 1565, though partially printed in 1560), comprised all of his music that Tallis saw in print during his lifetime. Tallis’s Latin works include a modest, unnamed four-part mass; a five-part mass, Salve intemerata, derived from his antiphon of the same name; a seven-part mass; and two settings of the Magnificat. He also made two settings of the Lamentations of Jeremiah, the first of which is among his most-celebrated works. Among his Latin pieces two in particular are often cited as demonstrations of Tallis’s supreme mastery of the art of counterpoint: the seven-part Miserere nostri, an extraordinary feat of canonic writing, involving retrograde movement together with several degrees of augmentation; and the famous 40-part Spem in alium, considered a unique monument in English music. |
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 沃恩·威廉斯 (Ralph Vaughan Williams, 1872－1958) | |||||||||||||||||||||||
|
|||||||||||||||||||||||
| 未得原作者编者授权严禁转载www.mt77.com任何内容 | |||||||||||||||||||||||
|
|
|
||||||
|
copyright © 2003-2005 xilu.com all rights reserved. |
||||||
|
|
||||||
