dimecres, 16 de desembre de 2015

BALBI, Ludovico (c.1545-1604) - Psalmi ad Vesperas Canendi per Annum

Hans Bol - Landscape with Christ on the road to Emmaus, a woman herding cattle to the right
Obra d'Hans Bol (1534-1593), pintor flamenc (1)



- Recordatori de Ludovico Balbi -
En el dia de la commemoració del seu 411è aniversari de decés



Parlem de Pintura...

Hans Bol (Mechelen, 16 de desembre de 1534 - Amsterdam, 20 de novembre de 1593) va ser un pintor holandès. Es va iniciar en la pintura de la mà de dos dels seus oncles, també pintors, i treballant com a aprenent d'un artista especialitzat en grans escenes pintades en llenç amb aquarel·la, especialitat que es va convertir en el substitut dels grans i costosos tapissos. Aviat es va instal·lar a la propera Anvers, sent admès el 1574 en el Gremi de Sant Lluc. Va ser el director de la primera escola d'aquarel·la organitzada a Europa per on hi van passar alguns mestres com Dürer. La guerra amb Espanya i els conflictes religiosos van causar freqüents maldecaps en la vida de Bol. Segons Karel van Mander, mestre de Frans Hals, Bol va organitzar un important taller i les seves aquarel·les van ser profusament copiades, obtenint una important fortuna. Els seus treballs van presentar una curiosa barreja d'artificiositat i naturalisme, mostrant el paisatge flamenc ocupat per petites figures que van aportar més vitalitat a les escenes. Va ser autor d'un "Breviari" per un duc francès i de nombrosos dibuixos que van ser posteriorment gravats, convertint-se en un dels mestres més copiats no només a Europa, sinó també a Amèrica. Va morir a Àmsterdam el novembre de 1593.

Font: En català: Hans Bol (1534-1593) En castellano: Hans Bol (1534-1593) In english: Hans Bol (1534-1593) - Altres: Hans Bol (1534-1593)



Parlem de Música...

Ludovico Balbi (Venezia, c.1545 - Venezia, 15 de desembre de 1604) va ser un compositor italià. Va entrar al monestir de Santa Maria Gloriosa dei Frari de Venècia com a membre de la Ordre Menors dels Conventuals Franciscans. Entre els anys 1565 i 1567 va ser alumne de Costanzo Porta qui al seu temps va entrar a la mateixa ordre religiosa. Entre el 1570 i 1578 va ser cantant a San Marco, a les ordres del mestre de capella Zarlino, i a la Cattedrale di Santa Maria Matricolare de Verona. El 1578 va ser nomenat mestre de capella de Santa Maria Gloriosa dei Frari, un càrrec que va mantenir probablement fins el 1582. Després d'intents infructuosos d'entrar com a mestre de capella de la Catedral de Milà, el maig de 1585 va ser nomenat director musical de la Cappella Antoniana de Padua. El 1593 va assumir un nou càrrec a la Catedral de Feltre, on hi va romandre fins l'agost de 1597 ja que el van nomenar mestre de capella de la Catedral de Treviso. Des d'allà va tornar, un any després, a Santa Maria Gloriosa dei Frari de Venècia, ciutat on va morir el desembre de 1604.

OBRA:

all published in Venice

Vocal secular:

Il primo libro de madrigali, 4vv (1570)
Il secondo libro de madrigali, 4vv (1576)
I capricci, 6vv (1586)
Musicale essercitio, 5vv (1589)
1 madrigal, 6vv, 1592; 1 madrigal, 6vv, 1594; 1 madrigal, 5vv, 1598; 1 madrigal, 4vv, 1598

Vocal religiosa:

Ecclesiasticarum cantionum, 4vv (1578)
4 masses: ‘Ecce mitto angelum meum’, ‘Fuggite il sonno’, Missa duodecim toni, Missa alternatim canenda: 5vv (1580)
Ecclesiasticarum cantionum in sacris totius anni sanctorum sollemnitatibus, 4vv (1587)
Graduale et antiphonarium juxta ritum missalis et breviarii novi (1587) [collab. G. Gabrieli, Orazio Vecchi]
Missa defunctorum, 5vv (1595) [pubd with repr. of 1580 masses]
Messe et motetti con il Te Deum laudamus, 8vv (1605); bc pubd separately (1605)
1 psalm, 5vv, 1590; 9 falsobordoni, 1601; 2 motets, 7, 8vv, 1611; 3 motets, 8vv, 1612; 5 motets, 6–8vv, 1613; 1 motet, 6vv, 1617; 4 concerti ecclesiastici, 1622
Several motets, psalms, D-Z, I-Bc, FELc, PL-WRu, Legnica, Biblioteca Rudofina

Font: En català: No disponible En castellano: No disponible In english: Ludovico Balbi (c.1545-1604) - Altres: Ludovico Balbi (c.1545-1604)



Parlem en veu pròpia o en veu d'altri...

Balbi had a thorough mastery of contrapuntal writing, though unequal in artistry to his teacher Porta. The Psalmi ad vesperas (1596, I-FELc), in the usual homophonic and homorhythmic style, show simple melodic and rhythmic invention. The Musicale essercitio, in which Balbi added four voice parts of his own under the superius parts of well-known madrigals, is a curious piece of academicism. His output has yet to be studied fully, however, and perhaps the two books of madrigals for four voices may yield greater musical interest.

GROVE MUSIC ONLINE (source/font: aquí)

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It is the first of three CDs of the complete recording of psalms and magnificats contained herein. The manuscript is almost certain to be an only copy. In fact, no references are made in main repertoires, to other documents, which wholly or partially contain the same music, and it may be an autograph. The verses in the figurative singing of the psalms and magnificats are performed in alternatim with those in cantus planus. This practice is applied also by alternating the performance of Balbi's verses to that of organ verses of the same period. Stefano Lorenzetti's performance of the organ verses took place in the Callido of the Feltre Cathedral. Perhaps for the first time, on a modern recording, it was decided that the practice of alternatim between the organ and polyphonic verses be reintroduced. This custom, widely attested to by sources of the same period, has recently been brought to the attention of scholars again by Arnaldo Morelli. In as much as type, in adherence to the period and the writing of Salmi by Balbi, the choice was made to use verses mainly of the polyphonic type with explicit, even though sporadic, references to fragments of cantus planus: this is the case of Intavolatura facilissima, which can deductively be attributed to Luzzasco Luzzaschi's writing, and Versetti spirituali by the Neapolitan Antonio Valente. In the case of the latter, the traditional contrapuntal role is revived by sporadic figurations of more idiomatically manifested instrumental writing (see. i.e. IV Verse Sopra il re). A structure centered on the even more systematic polyphonic amplificatio of the gregorian melody marks the verses by the Magnificat of Cavazzoni and Diruta. For the performance of the polyphonic verses the Schola Cantorum followed the performance procedure of the period, which, as stated, made use of white voices or acute male voices for the cantus part and only male voices for the inferior parts. In the performance of certain psalms an experimental doubling of parts with bowed instruments was desired, guided by the documented historical use of these instruments by the music chapel of the Feltre Cathedral in the second half of the 16th century . In this regard, a resolution of the Chapter in 1565 specifies, among other things, that in as much as decisions relative to the compensation of musicians, singers were permitted to “spend their earnings, as needed, to purchase a set of violas.”

TACTUS (source/font: aquí)

Gaudiu i compartiu! 



Informació addicional... 


















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3 comentaris:

  1. Un administrador del blog ha eliminat aquest comentari.

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    1. Amigo Pau siempre agradecido por las joyas Tactus!!!
      Fuerte abrazo
      Milton

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    2. Gracias Milton!!!

      Ya vi tu correo! Muchas gracias, deseo que la música cuide bien tu salud!

      Abrazo!
      Pau

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