Cornelis Schuyt - Padovana & Gagliarda 6 скачать в хорошем качестве

Cornelis Schuyt - Padovana & Gagliarda 6

Cornelis Schuyt (1557-1616) Padovana et gagliarda del sesto modo : Dodeci padovane et altretante gagliarde composte nelli dodeci modi con due canzone fatte alla francese : for 6 unspecified instruments (1611) Camerata Trajectina Cornelis Schuyt was a Dutch composer and organist. He was probably trained as a choirboy at St Pieterskerk in Leiden where his father, Floris, was organist from 1558 until 1572, when the city adopted the Reform. In his madrigal book of 1600 Cornelis mentioned that he had travelled to Italy; this was most likely in the mid-1570s. Floris Schuyt was reappointed organist and a city player at Leiden in 1584, and his son Cornelis was named second organist on 11 March 1593. Each played daily in alternate weeks at St Pieterskerk and the Hooglandse Kerk, and provided Tafelmusik for city banquets as well. Cornelis was also responsible for the musical training of two choirboys. From 1598 he looked after the bell-chimes of two city towers, setting the melodies on the chime barrels. After his father’s death in 1601 he became first organist of St Pieterskerk. Upon his own death, he was succeeded by his pupil and assistant Jan Pieterszoon van Reynsburch. Schuyt was one of the leading Dutch madrigalists, cultivating Italian forms for many years after his trip there. His collections of 1600 and 1611, for five and six voices respectively, mirror the classic Italian madrigal in their restrained chromaticism and settings of texts by Tasso. His style includes northern contrapuntal techniques as well: the first book opens with a four-part prayer for his native city, Bewaert, Heer, Hollandt, set as a puzzle canon. Schuyt published a detailed explanation to the canon's resolution in his Dutch-texted Hollandsche madrigalen (1603). As resolved by Annegarn, the canon moves through a descending circle of 5ths to its midpoint, then returns through thematic inversion to the opening mode. Other texts, including O Leyda gloriosa, celebrate Schuyt's native land as well. His last madrigal collection, published in 1611, includes a 12-voice polychoral Echo doppio. A short six-voice picture motet, Domine fiant anima mea, survives in an engraving of St Cecilia by Zacharias Dolendo. Schuyt's instrumental ensemble collection of 1611 contains homophonic dance pairs (pavan-galliard) for six-part ensemble in each of 12 modes, framed by two closely related canzone alla francese. The two canzona titles, Fortuna guide and La barca, combine to form a pun on the composer's name: ‘May good fortune steer the boat [schuit]’. An extant auction catalogue documenting the sale of Schuyt's music library in 1617 confirms his taste for Italian secular music and lists several unpublished collections, including instrumental ensemble canzonas and keyboard works.