Bryars: Fifth Book of Madrigals ("I Tatti")
Expected to ship in 1-2 weeks.
- Composer: Gavin Bryars (1943-)
- Instrumentation: SATB Choir
- Work: Fifth Book of Madrigals ("I Tatti") (2013)
- Work Language: Italian
- ISMN:
- Size: 8.3 x 11.8 inches
- Pages: 72
Description
The "I Tatti" Madrigals - for mixed voices (STTTBarB)
The choice of 16th century texts, by Bronzino and Battiferri, reflects the interests of the dedicatee of these sonnets - Craig Hugh Smyth, a fine art historian and former director of the Villa I Tatti, who was a specialist in Bronzino and Pontormo. Bronzino's sonnet is a lament on the death of Pontormo, his teacher; Laura Battiferri's poem is a direct response to that of Bronzino. As I was also asked to set sonnets by Petrarca, I chose two of his closely linked sonnets, numbers 229 and 230 in the Rime Sparse. I had written a work for I Tatti some five years earlier setting Petrarca ("A qualunque animale", the first in my Fourth Book of Madrigals) and was familiar with the context. However, through correspondence with Kathryn Bosi, Music Librarian at I Tatti and, through her, Craig Smyth's family, I became increasingly aware of his unusual and quite special character.
From his undergraduate days at Princeton and indeed throughout his life, although a great scholar and writer, he was at the same time an aficionado of jazz, loving above all Louis Armstrong, being photographed with Duke Ellington, taking his children to see Thelonious Monk, listening to Ben Webster and playing the tenor saxophone himself. Indeed, he had told Kathryn Bosi that he had been proud to walk in procession at the funerals of black musicians in New Orleans. in some ways his life was almost an obverse mirror image of parts of my own - I was a professional jazz musician but found myself teaching art history for a time. As Fiorella Superbi of I Tatti has said: Craig was a maestro di vita. I raise a glass in his memory and dedicate these sonnets to him.
Gavin Bryars
- I Cantai, or piango; Petrarca: sonnet CCXIX
- II I' piansi, or canto; Petrarca: Sonnet CCXXX
- III in morte del medisimo (Jacopo da Pontormo); Bronzino
- IV in morte del medesimo (Riposta); Laura Battiferri;
- V Qual per l' onde turbate; Battiferri: Sonnet 48 (73);
- VI Fra queste piagge; Battiferri: Sonnet 53 (87);
- VII Ergiti infin; Battiferri: Sonnet 54 (89);
- VIII Temprato aer sereno; Battiferri: Sonnet 55 (91);
- IX Mentre Sepolto; Bronzino: Del Bronzino Pittore (Sonnet 76);
- X Se fermo è nel destin chi lacrimando; Battiferri: Risposta (Sonnet 77);
- XI Chi punto ha'l core; Buonarroti il Giovane
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Bryars: Fifth Book of Madrigals ("I Tatti")
