Royal printers. The family of Ballard

The family of Ballard had a complete monopoly on the printing (publication and distribution) of court music in France. Ballard decided not only for the conception of music collections, but also for the number intended for the public.

Ballard family was quite powerful. They jealously guarded their position and they did not tolerate any sort of rivalry, which was almost impossible because they were at the mercy of the King. For sure, first of all Ballard published the music of composers who were serving at the royal court. We can blame Ballard for the fact that it is for this reason many worthy works of less known and non-court composers had not survived, but thanks to Ballard we can have a full view about the court music - what sort of music it was and how it was developing.

And something about Robert Ballard Jr.

Robert Ballard Jr. was a lute player and composer. He was born in Paris about 1572-1575. In 1612 he entered the service of the Queen Regent - Maria Medici. Also he taught music the young King Louis XIII.

Author: Alisia Holainen

My page on Facebook - Musique de Cour

Comments

Francesco Bernandi - great Senesino

Francesco Bernardi, known as Senesino, was an opera star of his era. The singer had a marvelous strong voice, he was a public favourite, earned (according to that time) a lot of money. For a long time he collaborated with Maestro Handel, who wrote for him many great roles. Francesco Bernardi was born in 1686, in Siennese barber’s family. His music education, and music career as well, began when he joined the cathedral choir in Siena. Senesino made his stage debut in Venice in 1707, but he was found as an opera singer after his Dresden debut in Lotti’s Giove in Argo (1717). In 1720 Senesino sang in Heinichen’s opera - Flavio Criso. Based on history, the singer met Handel in Dresden, when the composer came there looking for singers for the Royal Academy in London. For the very first Maestro listened Senesino in 1719, in Lotti’s opera Teofane. Apparently, the offer Handel made to Senesino was so good, that Senesino couldn’t refuse it. So, he became an “official” singer of the Ro

Lully. Opera arias for soprano

1. Acis & Galatée - Qu'une injuste fierté (Chaconne) (act 2, scene 5) 2. Amadis - Toi, qui dans ce tombeau, aria of Arcabonne (act 3, scene 3) 3. Amadis - Que vois-je ! Ô spectacle effroyable? - Oriane's aria (act 4, scene 4) 4. Armide - Enfin, il es en ma puissance. Armida's aria (act 2, scene 5) 5. Atys - Espoir si cher et si doux (act 3, scene 8) 6. Cadmus et Hermione. Hermione's aria from act 2, scene 5 Author: Alisia Holainen

Music History. Vocal music

Madrigal Madrigal (it. Madrigale from Latin matricale ). Form of vocal chamber music, the number of voices varies from two to eight, and most frequently from three to six; the musical form reflecting the structure of the poem. Usually, the main subject of madrigal is love story. Madrigal was really popular during Renaissance period. Motet Motet (French motet from Latin motetus ) - style of vocal composition with polyphonic structure. Typically, it is a Latin religious choral composition, yet it can be a secular composition or a work for soloist and instrumental accompaniment, in any language, with or without a choir. Chanson Chanson - French song of Medieval and Renaissance period. Usually, it was written for one solois and one instrument. Almost all chansons were written in Rondo, ballad or virelai form. Main subject - courtly love. Chanson was favourite genre of troubadours in 13 - 14th century. Organum Organum is an early Medieval form of plainsong, or plainc

Musique de Cour

Search This Blog