By Paul Henry Lang
Simply because I spent my formative years in Leipzig, a urban which resounds with echoes of Bach and the whole musical international, i've got constantly had the assumption of 1 day getting ready a pictorial background of song. This current booklet is the outcome; it combines components of my specialist existence as a picture historian and my deepest existence as a contented lover of music.
A pictorial heritage of tune can by no means be in basic terms an image album, besides the fact that, for no volume of illustrative fabric can on its own create a significant landscape of song. There needs to be, as well as images, an intrinsic plan, a unified standpoint which the reader can seize and use to accomplish comprehension
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Extra info for A Pictorial history of music
Morley in particular represents a high point in English music. In addition to fine madrigals Italian madrigalists, serenading their young ladies at carnival time. Florentine woodcut. and canzonets, he was the composer or two plays. them Palestrina, could not escape writing them. This art form was not, of course, the invention of an individual. One may however, that when the first northern com- poser set an Italian lyric poem He was of his day, the of one of the songs written for Shakespeare's modern the most popular composer and still holds the affection of listener for the light, graceful, and merry tunefulness of his music.
Poets and musicians collaborated on this expressive style and unified musical poetical form built into a it — the opera. Dafne, a tragedy written by Ottavio Rinuccini, a Florentine court poet, set music by Jacopo Peri and Giulio Caccini, to is and generally considered the ever, really dice. of its music has been first lost, opera. How- so the complete opera known to us is first Euri- Written by Rinuccini for the marriage Henry IV of France to Maria de' Medici, with a musical setting supplied by Peri and Caccini, Euridice Palazzo 26 Pitti was first performed on October 16, 1600.
Passed through Rome, stayed at the Palace of the Colonna, and sang there many hours . . before leaving for Venice, - Don August, a parish violin ness. 4S and viola priest, played the d'amore with great sweet- Father Don Philipp, and an accomplished a Bernardine monk, cembalist. and Handel Gennaro Amelia from Naples, a who came to Rome Fabbio Orsini from Naples, a good player cellist, of the great lute. in 1 744. [Viewed by an Artist-Chronicler) March 20, 1722. and made this I saw her at the Colonna's memento.
A Pictorial history of music by Paul Henry Lang