Fantastic

It would be great if you would (try to) clarify the meaning of Urtext editions vs Critical, vs all other kinds of editions, since several times a specific term is used for marketing reasons without actually providing a helpful glimpse into the source. Thanks!

molto molto divertente. grazie!

Grazie mille Elam, questa è la nuova musicologia che cammina ad un livello scientifico inedito e ad un livello tecnico musicale altissimo, che rinnova e rivoluziona il nostro rapporto con la cultura musicale del passato. Straordinario !!

As a music teacher I’m always trying to put things in context with my students. It’s like jazz or blues or rock and then we look at classical theory and they feel constrained and it’s like yea? They were constrained! That’s my whole point.

I have an easy approach: in the past life was a much slower pace than today. Also, instruments were not as durable and sophisticated as nowadays. As a result i tend to think that old times musicians played much slower in general than the virtuosos of today.👍👍👍

This brings back fond Theory classes!!

So interesting and entertaining! Thank you!

You are a treasure.

To be able to write good "period-style" music (let's keep the Arab phoenix of "originality" out for the moment), you need a great amount of committing, studying and practicing, just as much as you do when writing in a avant-garde style. [A great book on the subject is "The End of Early Music", by late oboist Bruce Haynes]. Some still think of period composition as a paint-by-number exercise, which in same cases can certainly be true. But there are a few contemporary composers who have adopted older styles in a serious, creative and honest manner, and wrote music which is not only historically informed, of good/great quality and believable, but genuinely great to listen to. A few names off the top of my head: F. M. Sardelli, M. Robaina, Elam Rotem (!), G. Bersanetti, Gaël Liardon. Cheers.

Wonderful work! Great video! I have some thoughts about your analysis. Burmeister writes in his Musica Poetica the following definition on climax: "The climax repeats similar notes but on pitches one step apart, as indicated in the following example:" - and the he adds an example which is very similar to the part where the "contubatur" text begins in your example (12:34). In his book Bartel writes the following thought about climax: "A similar development in the musical definitions of the climax or gradatio can also be observed. Burmeister, Nucius, and Thuringus define the figure simply as a graduated progression, parallel to the definitions of Quintilian and Susenbrotus. Burmeister describes the climax as the repetition of a certain sequence of notes at higher or lower pitches. Nucius and Thuringus define two voices moving in ascending or descending parallel motion - at thirds or tenths - as a climax or gradatio. The use of the term gradatim in reference to simple stepwise melodic motion is encountered in most treatises of the time without any reference to growth or intensification." (Musica Poetica) From these citations it seems for me logical, that the climax mentioned by Burmeister only applies to the soprano. The question really is: how do you interpret the bass voice? It is certainly firstly a hypotyposis. But the repetition in my view is only functional and not thematical. The bass line is rather just the result of the real climax in soprano, is it not?

Fascinating video! Wanted to share a conversation I had with scholar Bob Prechter, who has found numerous connections between the works attributed to Thomas Watson and Nicholas Yonge and those of 'William Shakespeare'. We also discuss how Lord Edward de Vere may have brought the madrigal form from Italy to Elizabethan England during his travels through Italy in the 1570s. Thanks for your consideration! kzbin.info/www/bejne/epytg6V7ZsaaqtEsi=q6Cvj0E71sr6CxXU

I wonder if the various temperaments contributed to some of the variations. In earlier tunings they created perfect chord intervals, fully tuned, unlike the evenly tuned system of today, which is NEVER fully in tune, but in essence, out of tune by the same amount, everywhere. This allows us to play and sing in any chord without wolf chords showing up, as they did in those tunings, meaning chords that absolutely did not work, because they were SO out of tune. Just a thought. My first introduction to this wonderful piece was the Kings Singers version, that iteration of performers, who I also heard twice in concert at my church, sitting about 20' away. No instruments, no mics, something like two hours each time, and two of the very best concerts of my entire life. Wow! Subbed.

You are amazing in every way, I cant imagine research without you! Alfey Grazie Mille

So happy I found your videos! Inspiring and informative!!! Thanks

great to hear this version , i have loved for years, in Glenn Gould's version!!

Fantastic video, though it is noteworthy, that the little rubati inbetween the notes work only in the solo+accompaniment setting, be it solo piano music, Oboe+orchestra, Singer+piano, singer+orchestra. Anyway, I loved the declamatory style of the old soloist, "spoken music" that is, full of life!

despues vinieron mozart y toda su pandilla de imbeciles. gran avance de esta escuela idiota. convendria enviar, a ser posible de un puntapie, a galileo y sus teorias, al espacio sideral tan estudiado por su descendencia

In the years that I have been reading and singing Renaissance music, I noticed that there are many pieces inspired by Giovanni Gastoldi's "A lieta vita". In German, Hans Leo Hassler's "Tanzen und Springen", in English: "Sing we and chant it" (Dowland?). If I had the means, I would love to build a concert around this "greatest hit of 1600".

Beautiful episode. And the musical examples are very beautiful and so well sung too. Were they recorded specifically for this episode, or are they perhaps available somewhere to listen to in full?

It can be interesting to find out what the temperature was in good or bad performance. The higher the temperature the worse the tuning

Anyone here trained to play a melody like Lamond? 🙋

BRAVA, BRAVO, BRAVO Muchas Gracias

Elam, congratulations for 8 years of EMS next February 28. I have been a follower, not as frequently a I would have loved, but I have shared with you, one or two anecdotes of my harpsichord student years, more than 50 years ago, with a Landowska pupil, and of my Mexican baroque keyboard music (sometimes reference is made to organ, but in other cases no reference is made to a specific instrument (any in the plucked strings -harpsichord- family or clavichord. Besides the delight of your generous and carefully chosen stories, I was very leased to learn that I was not a loner, and many more people than I thought, have a fervent passion for early music. Muchas gracias!

I've great admiration for your work ande great pleasure listening your italian acento!

Great to see the video of the song at the end! Excellent work as always!

Love your work!

This broadens my cultural and historical horizons, painting delicate nuances onto the subjective and objective canvas of reality. Thanks! Oh, and the production quality is amazing! Easy to consume, fun to watch and very engaging!

Ooo! Ooo! New Early Music Sources! ... _turns off notifications, settles in for delight_

Typically fascinating and charming, even if it's very modern for this early Medieval freak. Lunch invitation still open. Grüße aus kühlem Wien, Scott

Speaking of languages, I also wondered if non-Italian composers sometimes understood/used the expression/“tempo” markings subtly differently than Italian composers - i.e. Bach writes “Adagissimo” in the lamento movement of the Capriccio in B-flat: does he mean slower or a greater feeling of “letting go”? A further question is, around when did terms like andante, adagio became tempo indicators?

O Algorithm, please make this blow up for no reason.🙏

el ultimo clip ❤ gracias!!

Great episode! I am always asking why we do not translate any song nowadays in our concerts

I listened to the recordings of the three "Lamentations". Your lectures were excellent. Thank you for your valuable lectures.

Thank you!

1:28 Does this mean that Early Music Sources is about to help publish the three unpublished volumes? #pleasepleaseplease 🥹

The topic is fascinating, but I also learned that 'ditty' apparently meant song lyrics back then.

First time in the channel… I’m impressed and absolutely delighted! Thanks for sharing this knowledge with us. I’ve already attempted translating sacred music from other languages into mine (Brazilian Portuguese), and the conclusions I arrived at about the limitations are all in this video. It was so interesting to see how long these issues have been faced by translators and how similar they were to mine! Congratulations on the excellent work!

uuuuhhmmmmmm actually

Please please analyse some Bach in this regard!

When Morley's "Ballette" has started playing, I just thought: "This reminds me so much of a famous piece..." 😃😃

I suppose we should give a big round of applause to the middle class for all this richness and variation in language, haha! After all it was their money that motivated quite a few of these efforts. I also got a lot of amusement from the "rip-off" bit, having only just finished a book discussing the history of publishing. That book was mostly focused on the printing of literature of course - but all the same benefits AND problems clearly existed for publishers of musical manuscripts too! Especially the piracy! I expect there has always been a certain amount of borrowing among creatives, and not everyone's going to be transparent about where their inspiration came from (or, exactly whose genius is actually on the page)! Once again beautifully sung and presented, and with just that touch of humor I so appreciate from you all! I laughed aloud at the image of pineapple pizza among the fascinations with Italian, haha!

The bilingual editions remind me of Felix Mendelssohn writing Elijah simultaneously in German and English 250 years later, and being scrupulous that the music fitted each language equally well.

That 4 part publishing was for singers to read using one central candle. Oh , i never knew that. Thank you a million times for that . A truly grounbreaking piece of research

Excellent performances

I cannot inagine how popular italian to german must have been. That Morley /vecci versión was delightful. The Germsn was delightful.

To be honest. Later translations into English are clumsy.

Italian songs are the first foreign language songs that a student of voice studies and of course Latin.latin to English is usually quite good, ah. New texts to ancient music!

Two cute things in this video (followed by me geeking out): 1. The Cesare de Zacharia publication has all the German text set in what, to my eyes, is a classically “German” type 😂 I find that adorable. 2. The final performance of “Quel espoir de guarir” was very lovely to be performed with the lutist singing the French and another singer providing the translation. It felt a little like an actual real-time interpreter, like you might have an ASL interpreter for a performance, or perhaps like a teacher singing a song with their student, waiting patiently after each section to hear their student’s verse. It felt very cute and lovely! Incidentally I have of late, in no small part due to your past video, been quite entrenched in the practice of translating unaccompanied 4-part vocal dances I’ve written much inspired by the music of the 16th/17th centuries. Though my translating experience is quite different than these, it shares some notable similarities. I have been writing songs in English and translating their texts into my own invented language for the purposes of use as background music in two projects- one of which being a Fantasy Ball and Murder Mystery party. Don’t mistake my language for a proper conlang (though I’ve attempted the like in the past), though there is a facade of linguistic rigor to it. Within my mind I have a sense of the language; it’s melody and shapes and style and phonemes; from which I determine my vocabulary as the text requires it. However, I draw always from all of the previous library of vocabulary I’ve developed for other songs and poetry, such that words and their related words stay true across multiple texts. So it’s half a language, one could say. Therefore, in my translations, I have great liberty to allow for proper prosody and in many cases maintain the proper meaning of the words for certain text-painted passages (though I’ve written few). This is also greatly assisted by my being the composer and lyricist of these works, such that I can alter my music to fit the text with no qualm of disrupting the “original work”, much like Morley in his co-published editions (even if the example provided was quite heavily “inspired” by previous works). Of course, as my original English lyrics are often not performed, there is little pressure, as only their spirit, through the music itself, is visible, seeing as no one can speak the half-language I’ve invented. This brings me to the point of mentioning the topic, however! My most recent piece, for this Ball and Murder Mystery, I’ve elected to include the “English translations” of the texts on the repeats, exactly as you performed the Guédron excerpt! The piece is a dance-like tune in 6/8 which I wrote with the specific intent of using its melody and a Cantus Firmus upon which I could write a voice in canon using the table from your last video!!!! This allowed me to have a verse of the 6/8 dance, followed by the English text, and then feature a slow section in 3/4 in the subdominant key using the Cantus firmus in the bass and writing the voices in canon over top! With my great many ornaments I somehow inevitably made some dissonant “mistakes” which I elected to leave in, though they are certainly not allowed my the common practice conventions. However, this provides a unique opportunity in translation which I offer to those “preparing their next concert” as an addition to the ideas presented here: to sing both texts simultaneously. That is, when you are singing a canon! I chose to give my second verse of text, in my invented language, to the Cantus firmus and the Lead voice, but my Follower voice sings the English “translation” in real time 1 beat after the Lead! It’s like a real-time interpreter; to elaborate upon my previous analogy, similar to the kind who speak into the earpieces of dignitaries at the UN. I much like the effect this gives, and I think it also accentuates and enhances the nature of the canon; just as the music is repeated a beat later “but different”, so is the text “changed” in canon. My work is a far cry from the masterpieces that inspired them, and certainly by no means an attempt at historical recreation, but rather historical inspiration. However, I am very excited to share the piece with you once I am satisfied with the recording! I will comment on this comment once I’ve posted it. In the meantime, for reference’s sake, I will link two of the previous works I’ve written and recorded in this “half-language”, though these two, as mentioned, do not use the original English text. The second, which is shorter and perhaps superior: kzbin.info/www/bejne/jGjNqX6Jidh2odksi=cusAaw9dxswhzntc The first, which I love dearly, though my performance is lackluster: kzbin.info/www/bejne/epe7n4V5eJKrrqcsi=QGi52qBj9xH3dLcL Edit: not your last video, it was actually back in April, I only watched it recently 😂