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

Description
N ON ARÀ MA PIETÀ/QUANDO CON GRAN TEMPESTA/NON IAM ULTRA T.T.B.B. voices LANSING MCLOSKEY Lansing McLoskey SATTBB Duration: approximately 4 minutes Scored for a six part chamber choir (solo voices to no

Please download to get full document.

View again

of 14
All materials on our website are shared by users. If you have any questions about copyright issues, please report us to resolve them. We are always happy to assist you.
Information
Category:

Music

Publish on:

Views: 28 | Pages: 14

Extension: PDF | Download: 0

Share
Transcript
N ON ARÀ MA PIETÀ/QUANDO CON GRAN TEMPESTA/NON IAM ULTRA T.T.B.B. voices LANSING MCLOSKEY 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) 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. 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) 2 16 n # Œ re, # # gran tem - pe - pe - Œ vi - re, Ch'el - n Ch'el - n b sta sta b n # # Œ b un' a - qua ven - Œ un' 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 - 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 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 - 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 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 - 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 - Œ n 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, 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 ) 85 9 Le fiam -.. me che la Œ pa -, b. n. # # ( a ) # #. Œ b 91 Œ #. re b Di gior - # n b no'in gior - Le fiam - me. # che la pa - re # di gior - n Œ #. # 10 97 # # # no no'in gior - # a - cres - no # a - cres - co - # co -.. # Œ #. # n n 102 # # no'l do - b no'l do - b Di - Di - 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
Related Search
Similar documents
View more...
We Need Your Support
Thank you for visiting our website and your interest in our free products and services. We are nonprofit website to share and download documents. To the running of this website, we need your help to support us.

Thanks to everyone for your continued support.

No, Thanks