9782503553290 - antoine bruhier: life and works of a renaissance papal composer (epitome musical) von wexler, richard (11 Ergebnisse)
- Softcover
Anbieter: The Compleat Scholar, Rochester, NY, USAThe Compleat Scholar
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Befriedigend
EUR 43,27
EUR 4,72 VersandVersand innerhalb von USAAnzahl: 1 verfügbar
Paperback. Zustand: Good. Paperback showing light shelf wear ? corners bumped, scuffing on cover and edges, otherwise in fine condition. Pages are clean and unmarked. No highlighting or notes. Heavy book, extra shiping charges to locations outside USA.
- Softcover
Anbieter: GreatBookPrices, Columbia, MD, USAGreatBookPrices
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Wie neu
EUR 134,53
EUR 2,29 VersandVersand innerhalb von USAAnzahl: 2 verfügbar
Zustand: As New. Unread book in perfect condition.
- Softcover
Anbieter: GreatBookPrices, Columbia, MD, USAGreatBookPrices
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 147,83
EUR 2,29 VersandVersand innerhalb von USAAnzahl: 2 verfügbar
Zustand: New.
- Softcover
Anbieter: Grand Eagle Retail, Bensenville, IL, USAGrand Eagle Retail
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 150,19
Versand gratisVersand innerhalb von USAAnzahl: 1 verfügbar
Paperback. Zustand: new. Paperback. The twenty surviving works of Antoine Bruhier (b. c. 1460 or 1470; d. after 1521) raise an unusually large number of tantalizing, sometimes perplexing, and ultimately thought-provoking issues. His earliest known composition, for example, is Latura tu, No. 7 in the present edition, published by… Petrucci in the Odhecaton of 1501. This chanson finds itself in extremely good company, being immediately preceded by Hayne van Ghizeghem's A la audienche and followed by Josquin's canonic De tous biens playne a 4. Petrucci's publication, as it happens, constitutes the first dated record in existence for Bruhier. Except for the probable fact that he was born in Noyon, in northern France, little else is known of his whereabouts or his development as a musician before 1504, when he was said to have been maitre [de musique] in the maitrise of Langres Cathedral. It appears that he occupied the position in Langres for only a brief period before becoming mired in financial and legal difficulties, ultimately being supplanted in November of 1504. Surviving documents place him in Ferrara in 1505 in the service of the sons of duke Ercole I d'Este, but there is reason to believe that he may have composed his Missa Hodie scietis, no. 18, in late 1504 in the last months of duke Ercole's reign. A letter from Bruhier, perhaps a holograph, also suggests that his Ferrarese employers found him entertaining. After working briefly for the duke of Urbino, he returned to Ferrara, but in all likelihood he had left Este service by 1507 or 1508. Where he was, however, between then and 1513 is completely unknown today. In that year, Bruhier became a member of the private chapel of the newly elected pope Leo X (Giovanni de' Medici), the first singer-composer, it seems, of French or Flemish origin in that organization. It was presumably while in this position that he wrote four of the most obscene songs in the history of music, Nos. 2, 3, 4, and 5. The fundamental question raised by these works is: Why would Bruhier, a papal musician, have chosen to write such pieces in the first place? A case is made below for their being music intended for the intermedi of the theatrical productions so loved by this ecclesiastical son of Lorenzo de' Medici, the Magnificent. Of Bruhier's four surviving motets, a setting of the sequence Ave celorum regina may be the composition for nostra donna mentioned in his letter and, if so, was written before or during his sojourn in Ferrara. However, there is reason to doubt that it is a liturgical work because of the insertion of a superfluous line in its first stanza that introduces a seriously flawed and absurd rhyme. The remaining three appear to have been composed during Bruhier's service at the Vatican. The best known of these at present, Vivite felices, praises the pope and the new king of France together, and is believed to have been composed for the famous meeting of Leo X and Francis I at Bologna in December, 1515. Ecce panis angelorum is a setting of selected verses, although not in order, of the Gregorian sequence Lauda Sion Salvatorem, and, while the text of Ave color boni vini is in the form of a sequence, the sentiments expressed concern drinking to excess. Therefore, these three works are also not liturgical music, and no copies of Bruhier's motets were included in the known repertory of the Sistine Chapel Choir. Bruhier's skillfully composed music was the product of an intelligent, original, and lively mind, albeit one with a pronounced Rabelaisian bent. This, of course, may have been precisely what made him especially attractive to such sophisticated patrons of the era as the sons of duke Ercole I d'Este of Ferrara, the duke of Urbino, and Leo X. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Softcover
Anbieter: GreatBookPricesUK, Woodford Green, Vereinigtes KönigreichGreatBookPricesUK
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Wie neu
EUR 144,11
EUR 17,55 VersandVersand von Vereinigtes Königreich nach USAAnzahl: 2 verfügbar
Zustand: As New. Unread book in perfect condition.
- Softcover
Anbieter: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrlandKennys Bookshop and Art Galleries Ltd.
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 163,03
EUR 9,50 VersandVersand von Irland nach USAAnzahl: 20 verfügbar
Zustand: New. 2014. Paperback. . . . . .
- Softcover
Anbieter: moluna, Greven, Deutschlandmoluna
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 139,97
EUR 48,99 VersandVersand von Deutschland nach USAAnzahl: 2 verfügbar
Zustand: New.
- Softcover
Anbieter: GreatBookPricesUK, Woodford Green, Vereinigtes KönigreichGreatBookPricesUK
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 174,92
EUR 17,55 VersandVersand von Vereinigtes Königreich nach USAAnzahl: 2 verfügbar
Zustand: New.
- Softcover
Anbieter: Revaluation Books, Exeter, Vereinigtes KönigreichRevaluation Books
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 184,30
EUR 14,63 VersandVersand von Vereinigtes Königreich nach USAAnzahl: 2 verfügbar
Paperback. Zustand: Brand New. 555 pages. 10.50x7.25x1.25 inches. In Stock.
- Softcover
Anbieter: Kennys Bookstore, Olney, MD, USAKennys Bookstore
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 201,26
EUR 9,09 VersandVersand innerhalb von USAAnzahl: 20 verfügbar
Zustand: New. 2014. Paperback. . . . . . Books ship from the US and Ireland.
- Softcover
Anbieter: AussieBookSeller, Truganina, VIC, AustralienAussieBookSeller
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Neu
EUR 236,97
EUR 32,04 VersandVersand von Australien nach USAAnzahl: 1 verfügbar
Paperback. Zustand: new. Paperback. The twenty surviving works of Antoine Bruhier (b. c. 1460 or 1470; d. after 1521) raise an unusually large number of tantalizing, sometimes perplexing, and ultimately thought-provoking issues. His earliest known composition, for example, is Latura tu, No. 7 in the present edition, published by… Petrucci in the Odhecaton of 1501. This chanson finds itself in extremely good company, being immediately preceded by Hayne van Ghizeghem's A la audienche and followed by Josquin's canonic De tous biens playne a 4. Petrucci's publication, as it happens, constitutes the first dated record in existence for Bruhier. Except for the probable fact that he was born in Noyon, in northern France, little else is known of his whereabouts or his development as a musician before 1504, when he was said to have been maitre [de musique] in the maitrise of Langres Cathedral. It appears that he occupied the position in Langres for only a brief period before becoming mired in financial and legal difficulties, ultimately being supplanted in November of 1504. Surviving documents place him in Ferrara in 1505 in the service of the sons of duke Ercole I d'Este, but there is reason to believe that he may have composed his Missa Hodie scietis, no. 18, in late 1504 in the last months of duke Ercole's reign. A letter from Bruhier, perhaps a holograph, also suggests that his Ferrarese employers found him entertaining. After working briefly for the duke of Urbino, he returned to Ferrara, but in all likelihood he had left Este service by 1507 or 1508. Where he was, however, between then and 1513 is completely unknown today. In that year, Bruhier became a member of the private chapel of the newly elected pope Leo X (Giovanni de' Medici), the first singer-composer, it seems, of French or Flemish origin in that organization. It was presumably while in this position that he wrote four of the most obscene songs in the history of music, Nos. 2, 3, 4, and 5. The fundamental question raised by these works is: Why would Bruhier, a papal musician, have chosen to write such pieces in the first place? A case is made below for their being music intended for the intermedi of the theatrical productions so loved by this ecclesiastical son of Lorenzo de' Medici, the Magnificent. Of Bruhier's four surviving motets, a setting of the sequence Ave celorum regina may be the composition for nostra donna mentioned in his letter and, if so, was written before or during his sojourn in Ferrara. However, there is reason to doubt that it is a liturgical work because of the insertion of a superfluous line in its first stanza that introduces a seriously flawed and absurd rhyme. The remaining three appear to have been composed during Bruhier's service at the Vatican. The best known of these at present, Vivite felices, praises the pope and the new king of France together, and is believed to have been composed for the famous meeting of Leo X and Francis I at Bologna in December, 1515. Ecce panis angelorum is a setting of selected verses, although not in order, of the Gregorian sequence Lauda Sion Salvatorem, and, while the text of Ave color boni vini is in the form of a sequence, the sentiments expressed concern drinking to excess. Therefore, these three works are also not liturgical music, and no copies of Bruhier's motets were included in the known repertory of the Sistine Chapel Choir. Bruhier's skillfully composed music was the product of an intelligent, original, and lively mind, albeit one with a pronounced Rabelaisian bent. This, of course, may have been precisely what made him especially attractive to such sophisticated patrons of the era as the sons of duke Ercole I d'Este of Ferrara, the duke of Urbino, and Leo X. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
