Partition Kramme: Introduction to pour Enamouring section of A Briefe Discourse, A Briefe Discovrse Of pour true (but neglected) vse of Charact’ring pour Degrees by their Perfection, Imperfection, et Diminution en Measurable Musicke, against pour Common pratique et Custome of these Times.

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Partitions

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Thomas Ravenscroft

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Partitions

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Visionnez les partitions de morceau A Briefe Discovrse Of pour true (but neglected) vse of Charact’ring pour Degrees by their Perfection, Imperfection, et Diminution en Measurable Musicke, against pour Common pratique et Custome of these Times. Kramme: Introduction to pour Enamouring section of A Briefe Discourse, de Ravenscroft, Thomas. Cette partition renaissance célèbre dédiée aux instruments tels que: SATB voix a cappella
La partition propose une sélection de mouvements: Music théorie, avec 20 madrigalsHunting (Nos. 1-2), Bennet: A hunts up , Pearce: A Hunting SongHawking (Nos. 3-5), Ravenscroft: A Hawkes-up, pour a Hunts up, Ravenscroft: Hawking pour pour Partridge, Bennet: pour pour Hearne et DuckeDauncing (Nos. 6-9), Ravenscroft: pour Fayries Daunce, Ravenscroft: pour Satyres Daunce , Ravenscroft: pour Urchins Daunce, Bennet: pour Elves Daunce Drinking (Nos. 10-12), Ravenscroft: Of Beare, Ravenscroft: Of Ale, Ravenscroft: Ale et Tobacco Enamouring (Nos. 13-20)Joel , Kramme: Introduction to pour Enamouring section of A Briefe Discourse, Bennet: Three Fooles, Bennet: pour Servant of his Mistris, Pearce: pour Mistris of her Servant, Ravenscroft: Their Mariage Zolemnized, Ravenscroft: Hodge Trillindle to his Zweet hort Malkyn, Ravenscroft: Malkinz anzwer to Hodge Trillindle, Ravenscroft: Their Goncluzion , Bennet: Their Wedlocke et une subtile association d'instruments.
Retrouvez de la même façon tout une collection de musique pour SATB voix a cappella sur YouScribe, dans la catégorie Partitions de musique de la renaissance.
Rédacteur: Christian Mondrup
Edition: Christian Mondrup

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RAVENSCROFT

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Joel I. Kramme

A Country Masque for Hodge Trillindle and His Zweet Hort Malkyn: The Dramatic Elements of Thomas Ravenscroft ’ s ‘ E namoring ’ Section of the Harmonies fromA Briefe Discourse, 1614

Background of the Composer and His Works Music scholars appear to be nearly unanimous in their assessment of Ravenscroft ’s talents as a composer, with David Mateer, his biographer in theNew Grove Dictionary of Music and Musicians, describing him as “a man of great versatility, though of slender talent,” (Sadie, ed. 15: 623-4) and an earlier biographer as “a useful man in his own age, if he was not exactly a brilliant one” (Pulver 405). More recent scholarship, however, underscores his importance to music: Thomas Ravenscroft, music theorist, composer, collector, editor, and one-time chorister of st. Paul ’s Cathedral, is the single most important figure in the preservation of the meager repertoire of children ’s dramatic songs that have survived to the present day. Ravenscroft published four very eclectic collections of secular music between 1609 and 1614, each of which includes musical settings of contemporary dramatic lyrics. But it has recently been shown that the only plays for which he preserves unique settings of undisputed dramatic origin were acted by the children of Paul ’ s between c. 1597 and c. 1604, the approximate years for which Ravenscroft was a member of the St. Paul ’s Cathedral Choir. Since the musical manuscripts actually used by the children ’s companies have apparently vanished into the mists of time, Ravenscroft ’s collections are extremely important. They not only add significantly to the extant body of late Renaissance theatrical songs, but preserve a unique musical record, sparse though it may be, of a once celebrated London dramatic company (Austern 212-13).

The earliest apparent mention of Thomas Ravenscroft is to be found in the records of Chichester Cathedral where Thomas ‘ Raniscroft ’ is listed as a chorister in 1594. His name appears next in a list of the choir members at St. Paul ’s Cathedral, London in 1598, although a similar list of choristers at St. Pauls in 1594 does not include him. Ravenscroft was still at St. Pauls in 1600 when Edward Pearce was the organist and choir director. Austern suggests Ravenscroft ’ s tenure at St. Paul ’s continued until 1604 when he left for Cambridge (Austern 20) The precise date of his birth remains a mystery, due in part to his apparent status as a child prodigy, for in the prefatory poem toA Briefe Discourse, the author (R. LL.) describes Ravenscroft as a youth of twenty-two years of age, while a marginal note confirming this states that he received the bachelor of music when he was fourteen (Ravenscroft,DiscourseApprobation”). Indeed, “In the University Book of Supplicats lists a ‘ Thomas Rangecraft ’ from Pembroke Hall as having taken that degree in 1605. Mateer suggests a birthdate of c. 1582, while Ian Payne in a later article attempts to show that Ravenscroft was born c. 1587 (707-9).

Ravenscroft dedicatesA Briefe Discoursethe Right Worshipful, most worthy Grave “To Senators, Guardians, of Gresham College in London,” and notes his indebtedness for having received “first Instructions, Exercise, and Encouragement” in his music studies

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