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"Innsbruck, ich muss dich lassen" ("Innsbruck, I must leave thee") is a German Renaissance song. It was first published as a choral movement by the Franco-Flemish composer Heinrich Isaac (ca. 1450–1517); the melody was probably written by him.
The first use of the term air de cour was in Adrian Le Roy's Airs de cour miz sur le luth (Book on Court Tunes for the Luth), [1] a collection of music published in 1571. The earliest examples of the form are for solo voice accompanied by lute; [2] towards the end of the 16th century, four or five voices are common, sometimes accompanied (or instrumental accompaniment may have been optional ...
Northern Italy was a leading center of Renaissance music, which broadly covered the 15th and 16th centuries of Europe. [4] Regional courts, ruled by competing families—such as the Este, Gonzaga, and Medici—patronized secular music immensely, commissioning compositions and forming large ensembles. [5]
La Mantovana" or "Il Ballo di Mantova" ("The Mantuan Dance") is a popular sixteenth-century song attributed to the Italian tenor Giuseppe Cenci, also known as Giuseppino del Biado, (d. 1616) [1] to the text Fuggi, fuggi, fuggi da questo cielo. Its earliest known appearance in print is in Biado's collection of madrigals of the year 1600.
One of the most pronounced features of early Renaissance European art music was the increasing reliance on the interval of the third and its inversion, the sixth (in the Middle Ages, thirds and sixths had been considered dissonances, and only perfect intervals were treated as consonances: the perfect fourth the perfect fifth, the octave, and the unison).
Several generations of Renaissance composers from the region loosely known as the Low Countries (Imperial and French fiefs ruled in personal union by the House of Valois-Burgundy in the period from 1384 to 1482)—i.e. present-day Northern France, Belgium and the Southern Netherlands—are grouped under "Franco-Flemish School", though a teacher-student-relationship between them rarely existed.
Because of the limited range, music for crumhorns is usually played by a group of instruments of different sizes and hence at different pitches. Such a group is known as a consort of crumhorns. Crumhorns are built in imitation of the vocal quartet with soprano, alto, tenor and bass as a family, as was true of most instruments of the Renaissance.
The piccolo obbligato is not found in Steele's first version of the song; it appears to have originated in an orchestration by Robert Recker from later in 1901. [1] In New Orleans, Louisiana , Alphonse Picou adapted the piccolo part into a clarinet variation, [ 2 ] sometimes considered one of the earliest documented jazz solos.