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Partitions Flute ⮞ Flute, Hautbois, Cor anglais, Cor et Basson ⮞ Anonymous

"Nymphes des bois" for Woodwind Quintet
Anonymous

Flute, Hautbois, Cor anglais, Cor et Basson

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VoirTélécharger PDF : "Nymphes des bois" for Woodwind Quintet (8 pages - 184.58 Ko)19x⬇

VoirTélécharger PDF : Basson (67.25 Ko)

VoirTélécharger PDF : English Cor (68.19 Ko)

VoirTélécharger PDF : Flûte (66.56 Ko)

VoirTélécharger PDF : French Cor (65.85 Ko)

VoirTélécharger PDF : Hautbois (67.58 Ko)

VoirTélécharger PDF : Conducteur complet (131.42 Ko)

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Télécharger MP3 : "Nymphes des bois" for Woodwind Quintet 10x⬇ 36x

Nymphes des bois for Woodwind Quintet

Télécharger MP3 (2.49 Mo) : Interprétation (par MAGATAGAN, MICHAEL)13x⬇ 13x

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Compositeur	Anonymous
Instrumentation	Flute, Hautbois, Cor anglais, Cor et Basson
Genre	Renaissance
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 101 Contacte Faire un don
Droit d'auteur	Public Domain
Josquin des Prez (c. 1450/1455 – 1521), often referred to simply as Josquin, was a French composer of the Renaissance. His original name is sometimes given as Josquin Lebloitte and his later name is given under a wide variety of spellings in French, Italian, and Latin, including Iosquinus Pratensis and Iodocus a Prato. His motet Illibata Dei virgo nutrix includes an acrostic of his name, where he spelled it "Josquin des Prez". He was the most famous European composer between Guillaume Dufay ...(+) Josquin des Prez (c. 1450/1455 – 1521), often referred to simply as Josquin, was a French composer of the Renaissance. His original name is sometimes given as Josquin Lebloitte and his later name is given under a wide variety of spellings in French, Italian, and Latin, including Iosquinus Pratensis and Iodocus a Prato. His motet Illibata Dei virgo nutrix includes an acrostic of his name, where he spelled it "Josquin des Prez". He was the most famous European composer between Guillaume Dufay and Giovanni Pierluigi da Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame, with Luther declaring that "he is the master of the notes. They must do as he wills; as for the other composers, they have to do as the notes will." Theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. More than 370 works are attributed to him; it was only after the advent of modern analytical scholarship that some of these attributions were challenged, and revealed as mistaken, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and virtually nothing is known about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of less revered Renaissance composers are better documented than that of Josquin. Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of ingenious technical devices. In modern times, scholars have attempted to ascertain the basic details of his biography, and have tried to define the key characteristics of his style to correct misattributions, a task that has proved difficult, as Josquin liked to solve compositional problems in different ways in successive compositions—sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity. Heinrich Glarean wrote in 1547 that Josquin was not only a "magnificent virtuoso" (the Latin can be translated also as "show-off") but capable of being a "mocker", using satire effectively. While the focus of scholarship in recent years has been to remove music from the "Josquin canon" (including some of his most famous pieces) and to reattribute it to his contemporaries, the remaining music represents some of the most famous and enduring of the Renaissance. Josquin lived during a transitional stage in music history. Musical styles were changing rapidly, in part owing to the movement of musicians between different regions of Europe. Many northern musicians moved to Italy, the heart of the Renaissance, attracted by the Italian nobility's patronage of the arts; while in Italy, these composers were influenced by the native Italian styles, and often brought those ideas with them back to their homelands. The sinuous musical lines of the Ockeghem generation, the contrapuntal complexity of the Netherlanders, and the homophonic textures of the Italian lauda and secular music began to merge into a unified style; indeed Josquin was to be the leading figure in this musical process, which eventually resulted in the formation of an international musical language, of which the most famous composers included Palestrina and Lassus. Many "modern" musical compositional practices were being born in the era around 1500. Josquin made extensive use of "motivic cells" in his compositions, short, easily recognizable melodic fragments which passed from voice to voice in a contrapuntal texture, giving it an inner unity. This is a basic organizational principle in music which has been practiced continuously from approximately 1500 until the present day. Source: Wikipedia (https://en.wikipedia.org/wiki/Josquin_des_Prez). Although originally composed for Chorus (SATB), I created this interpretation of the "Nymphes des bois, déesses des fontaines" (Nymphs of the woods, goddesses of the fountains) for Woodwind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon).
	Ajoutée par magataganm, 10 Mar 2024