Greensleeves
Anonymous setting from the Ballet Lute book, which is probably the earliest
Greensleeves
Anonymous setting from the Ballet Lute book, which is probably the earliest known setting of the tune, and Francis Cutting's (1571 - 1596) set of variations upon it.
Paula Bär-Giese - soprano
Hans Meijer - lute
High bitrate performance:
http://web.mac.com/musicksmonumentdownl/Websites_for_museums /Holbein_project-Greensleeves.html
IPOD DOWNLOAD
http://web.mac.com/musicksmonumentdownl/Startpage/Free_iPod_ downloads_YouTube_Movies.html
Recorded at Castle Radboud-Medemblik:
http://web.mac.com/musicksmonumentdownl/Castle_Radboud/Castl e_Radboud_Medemblik-The_Netherlands.html
Handsome, gifted and recently married to Catherine of Aragon, King Henry VIII was the envy of Europe when he penned 35 royal compositions in the early years of his long and turbulent reign. (Thirty-five Compositions Ref: E1801 The complete secular works of King Henry VIII consisting of partsongs and instrumental consorts. Publisher Stainer & Bell)
Truly a Renaissance prince, he was also a gifted composer who excelled in portraying the pleasures of courtly life through words and music. His daughter, Elizabeth, inherited his gifts, and was a keen dancer and an excellent performer on the virginals.
"Greensleeves" is a traditional English folk song and tune, basically a ground of the form called a romanesca.
A widely-believed (but completely unproven) legend is that it was composed by King Henry VIII of England (1491-1547) for his lover and future queen consort Anne Boleyn. Anne, the youngest daughter of Thomas Boleyn, 1st Earl of Wiltshire, rejected Henry's attempts to seduce her. This rejection is apparently referred to in the song, when the writer's love "cast me off discourteously." It is not known if the legend is true, but the song is still commonly associated with Boleyn in the public mind.
Hans Holbein (1497/8--1543) was the first great British artist, and is regarded as one of the greatest artists of all time. He moved to England from Basel in 1526--8 and then again in 1532--43, an extremely turbulent time in English history when all around were losing their heads. His arrival effectively brought the Renaissance in painting from continental Europe to Britain.
Hans Holbein project:
http://web.mac.com/musicksmonumentdownl/Hans_Holbein/Hans_Ho lbein_slideshow_%26_Greensleeves_.html
Alas, my love, you do me wrong
To cast me off discourteously
For I have loved you well and long
Delighting in your company.
Greensleeves was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
And who but my lady Greensleeves
Your vows you've broken, like my heart
Oh, why did you so enrapture me
Now I remain in a world apart
But my heart remains in captivity
Greensleeves was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
And who but my lady Greensleeves.
I have been ready at your hand,
To grant whatever you would crave,
I have both wagered life and land,
Your love and good-will for to have.
Greensleeves was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
And who but my lady Greensleeves.
If you intend thus to disdain,
It does the more enrapture me,
And even so, I still remain
A lover in captivity.
Greensleeves was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
And who but my lady Greensleeves.
Ah, Greensleeves, now farewell, adieu,
To God I pray to prosper thee,
For I am still thy lover true,
Come once again and love me.
Greensleeves was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
And who but my lady Greensleeves.
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HANS MEMLING MILLE REGRETS - JOSQUIN
High bitrate performance:
http://web.mac.com/horten
HANS MEMLING MILLE REGRETS - JOSQUIN
High bitrate performance:
http://web.mac.com/hortense1/Greensleeves/Mille_regrets_-_Jo squin.html
IPOD DOWNLOAD
http://web.mac.com/musicksmonument/iWeb/Downloads%20iPod%20M ovies/Free%20iPod%20Downloads.html
Paula Bär-Giese soprano Hans Meijer vihuela (Vihuela made by Hans Meijer)
Recorded at Castle Radbout-Medemblik:
http://web.mac.com/musicksmonumentdownl/Castle_Radboud/Castl e_Radboud_Medemblik-The_Netherlands.html
Hans Memling (1435/40(?) - 1494)
Hans Memling is considered one of the most important 'Flemish primitives', although he was probably born in Gelderland (his family came from Medemblik?)There are not a lot of precise details known about him and his life. He was most probably influenced by the painting school of Cologne and by the painter Rogier van der Weyden in Brussels. In 1465 Memling is mentioned for the first time in the city books of Bruges. In 1480 he is considered to belong to the group of wealthy inhabitants of the city. He married Anna de Valkenaere and had three children with her. He died in Bruges on August the 11th 1494 and was buried in the local St.Gilles church. The reason why some of his most beautiful paintings were made for the St. John's Hospital has given rise in the 19th century to a legend about his arrival in Bruges. Hans Memling might have been a soldier in the army of Charles the Bold, duke of Burgundy. When he arrived severely wounded in Bruges he was taken care of by the sisters and brothers of the Hospital. To reward them he made the paintings that are still to be seen in the Memling Museum.
With the exception of his devotional works, this painting is the only Memling portrait of an individual woman to have survived. At the same time, it functions as an exemplar of the well-to-do Flemish townswoman of the final decades of the fifteenth century. Her almost nun-like appearance, with her pale face and severely swept-back hair, starched, transparent headdress and dark clothes, is ornamented only by an olive-green belt, worn high, a wine-red chest-piece, and several rings and a necklace studded with precious stones. She poses in devout reverie against a darker void, her hands clasped primly together. The background is barely distinguishable now from her close-fitting, dark purple dress because its original bluish-green colour has darkened. The frame that surrounds her is marbled dark brown, with the date painted onto the imitation stone in the Eyckian manner, as if made up of inlaid gold or yellow metal letters.
An earlier example of this type of portrait, with the same background, frame and date is the Portrait of Gilles Joye, dating from 1472. The Portrait ofJacob Obrecht also has this type of marbling on its frame. The portrait is somewhat disfigured by a painted metal cartouche top left and a banderole with an inscription on the frame at the bottom, which identify the woman as the Sibyl of Persia (SIBYLLA SAMBETHA QUAE / EST PERSICA). Judging from the style, these were added in the late sixteenth or early seventeenth century. The fingertips painted over the frame are original. This trompe-l'oeil technique is an example of a process frequently applied by Memling with the aim of breaking through into the real space beyond the picture plane. The painted strip on which the sitter's hands rest is not a window-sill, but is seemingly intended as a continuation of the frame.
The sitter of this celebrated portrait was identified in the 19th century as Maria, the second daughter of Willem and Barbara Moreel. However, later this identification was not generally accepted. The painting is also known as the Sibyl of Sambetha on account of an inscription on the scroll
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High bitrate performance:
http://web.mac.com/hortense1/Greensleeves/Aefgen_van_Giblant .
High bitrate performance:
http://web.mac.com/hortense1/Greensleeves/Aefgen_van_Giblant .html
IPOD DOWNLOAD
http://web.mac.com/musicksmonument/iWeb/Downloads%20iPod%20M ovies/Free%20iPod%20Downloads.html
Johannes Vermeer & text and music for Aefgen Claesdochter van Giblant
Paula Bär-Giese soprano Hans Meijer lute
Johannes Vermeer van Delft, b. October 1632, d. December 1675, a Dutch genre painter who lived and worked in Delft, created some of the most exquisite paintings in Western art.
His works are rare. Of the 35 or 36 paintings generally attributed to him, most portray figures in interiors. All his works are admired for the sensitivity with which he rendered effects of light and color and for the poetic quality of his images.
Little is known for certain about Vermeer's life and career. He was born in 1632, the son of a silk worker with a taste for buying and selling art. Vermeer himself was also active in the art trade. He lived and worked in Delft all his life. Not much is known about Vermeer's apprenticeship as an artist either. His teacher may have been Leonaert Bramer, a Delft artist who was a witness at Vermeer's marriage in 1653, or the painter Carel Fabritius of Delft. In 1653 he enrolled at the local artists guild.
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Ludwig van Beethoven - Rondo
QUEEN HORTENSE & HER MUSIC
Paula Bär-Giese soprano & piani
Ludwig van Beethoven - Rondo
QUEEN HORTENSE & HER MUSIC
Paula Bär-Giese soprano & pianist: Palace 't Loo Apeldoorn - The Netherlands
High bitrate QuickTime performance:
http://web.mac.com/hortense1/Ludwig_van_Beethoven/Beethoven_ -_Rondo_C-dur_Op.51_Nr.1.html
Ludwig van Beethoven
Hortense Eugénie Cécile de Beauharnais, Queen of Holland, Grand Duchess of Berg and Cleves, Countess of Saint-Leu (April 10, 1783 - October 5, 1837), was the wife of Louis Bonaparte, King of Holland and the mother of Napoleon III, Emperor of the French.
Hortense was born in Paris, France, the daughter of Alexandre, Vicomte de Beauharnais and of his wife Josephine Tascher de la Pagerie. In 1794 her father was executed during the Reign of Terror. Two years later her mother married Napoleon Bonaparte.
In 1802 at Napoleon's request, Hortense married his brother Louis Bonaparte. The couple had three sons:
• Napoléon Louis Charles (October 10, 1802 - May 5, 1807)
• Napoléon Louis (October 11, 1804 - March 17, 1831)
• Charles Louis Napoléon, later Napoleon III, Emperor of the French (20 April 1808- 9 January 1873)
In 1806 Napoleon appointed his brother Louis, King of Holland. Hortense accompanied her husband to The Hague, in spite of the fact that their marriage was an unhappy one (the paternity of at least one of Hortense's sons has been questioned). In 1810 Louis abdicated as King of Holland and settled in Germany; Hortense, on the other hand, returned with her sons to France.
In 1811 Hortense gave birth to a son by her lover, Charles Joseph, comte de Flahaut:
• Charles Auguste Louis Joseph (October 21, 1811 - March 10, 1865), later made duc de Morny by his half-brother, Napoleon III.
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Queen Hortense de Beauharnais - Album Artistique de la Reine Hortense (Koninklijk Huisarch
Queen Hortense de Beauharnais - Album Artistique de la Reine Hortense (Koninklijk Huisarchief Den Haag)
Les jeunes rêves d'amour
Paula Bär-Giese soprano & pianist
La Reine Hortense project (La Reine d'Hollande 1806-1810)
Recording: Kunstzaal Palace 't Loo, Apeldoorn - The Netherlands
High bitrate QuickTime performance:
http://web.mac.com/hortense1/Ludwig_van_Beethoven/Les_jeunes _reves_damour.html
Hortense Eugénie Cécile de Beauharnais, Queen of Holland, Grand Duchess of Berg and Cleves, Countess of Saint-Leu (April 10, 1783 - October 5, 1837), was the wife of Louis Bonaparte, King of Holland and the mother of Napoleon III, Emperor of the French.
Hortense was born in Paris, France, the daughter of Alexandre, Vicomte de Beauharnais and of his wife Josephine Tascher de la Pagerie. In 1794 her father was executed during the Reign of Terror. Two years later her mother married Napoleon Bonaparte.
In 1802 at Napoleon's request, Hortense married his brother Louis Bonaparte. The couple had three sons:
• Napoléon Louis Charles (October 10, 1802 - May 5, 1807)
• Napoléon Louis (October 11, 1804 - March 17, 1831)
• Charles Louis Napoléon, later Napoleon III, Emperor of the French (20 April 1808- 9 January 1873)
In 1806 Napoleon appointed his brother Louis, King of Holland. Hortense accompanied her husband to The Hague, in spite of the fact that their marriage was an unhappy one (the paternity of at least one of Hortense's sons has been questioned). In 1810 Louis abdicated as King of Holland and settled in Germany; Hortense, on the other hand, returned with her sons to France.
In 1811 Hortense gave birth to a son by her lover, Charles Joseph, comte de Flahaut:
• Charles Auguste Louis Joseph (October 21, 1811 - March 10, 1865), later made duc de Morny by his half-brother, Napoleon III.
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Egypt & Nubia VOL II David Roberts R.A. 1849
descriptions & high quality QuickTime perfo
Egypt & Nubia VOL II David Roberts R.A. 1849
descriptions & high quality QuickTime performance:
http://www.musicksmonument.nl
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Egypt & Nubia VOL I David Roberts R.A. 1849
descriptions & high quality QuickTime perfor
Egypt & Nubia VOL I David Roberts R.A. 1849
descriptions & high quality QuickTime performance:
http://www.musicksmonument.nl
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descriptions & high quality QuickTime performance:
http://www.musicksmonument.nl
Missali
descriptions & high quality QuickTime performance:
http://www.musicksmonument.nl
Missali Manuscripta Bruges 1475-1476 Crucifixion
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Paula Bär-Giese soprano & pianist
Music by Queen Hortense de Beauharnais, La Reine de Hol
Paula Bär-Giese soprano & pianist
Music by Queen Hortense de Beauharnais, La Reine de Hollande 1806-1810
Recording - Palace t' Loo Apeldoorn - The Netherlands
Broadwood square piano 1822
High bitrate QuickTime performance:
http://web.mac.com/hortense1/Partant_pour_la_Syrie/Romance_d e_la_Reine_Hortense_-_Partant_pour_la_Syrie.html
Partant pour la Syrie, traditionally dated to 1807, is a classic example of a song or 'romance' in the mediaevalising Romance/Troubadour style, a genre invented during the First Empire. Although initially attributed to Napoleon's step-daughter Hortense de Beauharnais, it was re-attributed by musicologist Arthur Pougin to a certain Louis-François-Philippe Drouet (1792-1855), flautist at Louis's court in Holland. The words were written by the archaeologist Comte Alexandre de Laborde (1774-1842). Recent research has however revealed Pougin's re-attribution to be driven by anti-Second Empire sentiment and restored Partant... to its rightful owner, Hortense. As she wrote in her memoirs 'Partant pour la Syrie was done at Malmaison while my mother was playing tric-trac' (Mémoires, vol. 3, p. 119).
The poem recounts the story of a courtly crusader, Dunois, who prays to the Virgin Mary (just before leaving for the crusades in Syria) that his love may be the most beautiful and that he may be the bravest. Dunois' prayers are answered; he is the boldest in battle and on his return he is granted the hand of his lord's very beautiful daughter, Isabelle. The apparent reference to the historical figure of the Comte de Dunois, famous for being the companion of Joan of Arc, is however misleading. The poem is entirely fanciful: the historical Dunois never fought in Syria, nor did he marry Isabelle, the daughter of his lord. That the 'romance' was closely associated with the First Empire regime is shown by the fact that the Bourbons of the restoration considered the song seditious - it was also a Bonapartist rallying cry in the 'dark days' before the Second Empire.
Partant pour la Syrie was enormously popular not only during the First Empire but also during the Restoration and the Second Empire. Louise Cochelet, Hortense's lectrice, wrote in her memoirs concerning Hortense (vol. 1, pp. 45-47) that Le beau Dunois 'was sung to such an extent that the hurdy-gurdies repeated it ceaselessly in the streets, promenades, everywhere. In the end, it was played to such an extent that, even though the romance is charming, one ended up being tired with it.' But it's popularity was not to diminish. Over the following decades it was to be transcribed and arranged for numerous different combinations of instruments by composers from Bochsa to Dussek. A set of variations was even published written for the penny whistle! Hortense's romance reached its zenith however when it became the Second Empire's 'national anthem', to be played at almost every official occasion. Apart from remaining as a song sung by the French army, it has today been almost completely forgotten.
Partant pour la Syrie,
Le jeune et beau Dunois,
Venait prier Marie
De bénir ses exploits :
Faites, Reine immortelle,
Lui dit-il en partant,
Que j'aime la plus belle
Et sois le plus vaillant.
On lui doit la Victoire.
Vraiment, dit le seigneur ;
Puisque tu fais ma gloire
Je ferai ton bonheur.
De ma fille Isabelle,
Sois l'Epoux à l'instant,
Car elle est la plus belle,
Et toi le plus vaillant.
Il trace sur la pierre
Le serment de l'honneur,
Et va suivre à la guerre
Le Comte son seigneur ;
Au noble vœu fidèle,
Il dit en combattant :
Amour à la plus belle,
Honneur au plus vaillant.
A l'Autel de Marie,
Ils contractent tous deux
Cette union Chérie
Qui seule rend heureux.
Chacun dans la chapelle
Disait en les voyant :
Amour à la plus belle,
Honneur au plus vaillant.
Fondation Napoléon
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