 | Adriaenssen, Emanuel - Almande Prince from Pratum musicum for Harp 1584 Harpe |
VoirPDF : Almande Prince from Pratum musicum (1584) for Harp (3 pages - 477.65 Ko)80x⬇ MP3 : Almande Prince from Pratum musicum (1584) for Harp 9x⬇ 246x
Vidéo :
![]()
![]()
| Compositeur : | Adriaenssen, Emanuel (1540 - 1604) | ||
| Instrumentation : | Harpe | ||
| Genre : | Renaissance | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 16 Jui 2021 Emmanuel Adriaenssen (c.1554 – 1604) was a Flemish lutenist, composer and master of music. He authored the influential Pratum Musicum, which contains scores for lute solos, and more importantly settings of madrigals for multiple lutes and different ensembles involving lutes and voices. He also had an important influence on the next generation of lutists through his activity as a teacher of music in his own music school. He was born in Antwerp between 1540 and 1555. Little is known about his early life and training. It is known that he travelled to Rome in 1574 to study music. Upon his return to Antwerp he started a lute school with his brother Gysbrecht. The brothers had in 1587 a conflict with the musicians' guild of Antwerp because they practised as musicians without becoming members of the guild. Emanuel later became a master of the guild. When Emanuel (or Hadrianus) Adriaenssen was born in mid-sixteenth century Antwerp, lute music had already been central to the city's musical culture for several decades. But Adriaenssen would be the talent to put the mercantile city's lute players on an international map. He absorbed aspects of the Italian ornamental style while studying music in Rome starting in 1574; he propagated his own playing style in a lifetime of public performances, in three large pedagogical printed collections of music, and above all, through a lifetime of teaching. Adriaenssen founded a school in Antwerp with the help of his brother Gysbrecht, and may have taught many of the next generation of Antwerp lutenists. Judging by the level of ornamentation with which Adriaenssen encrusts his surviving lute compositions, the man must have been a powerful player. The charge has even been leveled against him (in historical hindsight) that his ornamentation tends to overwhelm his musicality. In his time, however, the best of Antwerp society apparently delighted in his skill. It was his teaching, however, that would cement Adriaenssen's position in music history. Not only did he maintain students (apparently including future stars such as Jaochim van den Hove) who would proceed to their own fame, his printed collections of "Practical Music" for the lute must have been highly influential. Not only did these books include large collections of music in several styles and levels of difficulty (as well as music for two, three, and even four lutes playing simultaneously), they also contained tables for the teaching of tablature notation. Among the important international figures known to have owned copies of his printed music were astronomer Konstantin Huygens, the music-loving King of Portugal, and Cardinal Mazarin of France. Interestingly, three of Emanuel's children went into painting instead of music -- the Dutch master Alexander Adriaenssen and his two brothers Vincent and Niclaes. The Pratum Musicum contains lute solos, and more importantly settings of madrigals for multiple lutes and different ensembles involving lutes and voices giving much study material for the researcher into renaissance performance practice. The book contains around 85 tablatures for fantasias, songs and dances. Most of the vocal pieces are in Italian. The Neapolitan songs, with their parallel fifths (which not required in Italian text, so it is a question here of a style marker) have a more rustic character. One of them, Del crud’amor, has an almost Oriental character. Various dances for solo lute also tend toward the rustic. Source: AllMusic (https://www.allmusic.com/artist/emanuel-adriaenssen-mn 0001649774/biography). Although originally written for Lute, I created this Interpretation of the Almande Prince from Pratum musicum (1584) for Celtic or Concert (Pedal) Harp. | |||
