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Ars Antiqua Renaissance 4 CDs Medieval Baroque Live Recordings Dorothy Amarandos
US $39.95
ApproximatelyS$ 51.35
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Condition:
Brand New
An item that has never been opened or removed from the manufacturer's sealing. Item is in original shrink wrap.
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US $4.47 (approx S$ 5.75) USPS Media MailTM.
Located in: Leesburg, Virginia, United States
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Estimated between Fri, 15 Aug and Thu, 21 Aug to 91768
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No returns accepted.
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eBay item number:325274398870
Item specifics
- Condition
- Features
- Live Recording
- Edition
- Live
- UPC
- 0783707212609
About this product
Product Identifiers
Record Label
Cdb, CD Baby
UPC
0783707212609
eBay Product ID (ePID)
20046060404
Product Key Features
Release Year
2005
Format
CD
Genre
Classical Artists
Artist
Ars Antiqua Austria
Release Title
Ars Antiqua Renaissance
Dimensions
Item Weight
0.50 lb
Additional Product Features
Number of Tracks
82
Number of Discs
1
Tracks
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Notes
Ars Antiqua Ars Antiqua, established in Rochester, NY in 1957, was a performing group of musical theater that, over a period of ten years, mounted a remarkably rich repertoire of programs offering a unique synthesis of the history and arts of the Medieval, Renaissance and Baroque periods. The group was founded and directed by Dorothy Purdy Amarandos, a cellist and viola da gambist, who earned a Master's Degree in Music History and Performer's Certificate on the cello from the Eastman School of Music of the University of Rochester. From it's early beginnings as a small instrumental and vocal ensemble to it's later successes as a major dramatic touring group, Ars Antiqua maintained an important association with the arts community in Rochester. In particular, with the significant enthusiasm and support of Gertrude Herdle Moore, curator of an extraordinary collection of Renaissance art at the Rochester Memorial Art Gallery, Ars Antiqua found a magnificent home in the Gallery's beautiful and resonant Fountain Court. The compilation of Gallery performances on these CDs recaptures precious moments of the brilliance of Ars Antiqua in that special setting. Within the intimate walls of the Fountain Court, Ars Antiqua delighted audiences with lavish re-creations of musical and dramatic experiences from the 12th through 18th Centuries. Each Ars Antiqua production represented an important idea, tradition, development, or time in history, or the influence of an important individual across the social and cultural currents of a particular period. The ideas were unlimited...from the practical revival of Medieval Church dramas commemorating Biblical legends, to the representation of colorful patrons of the arts, such as Lorenzo dei Medici, Louis XIV, Ferdinand and Isabella, and Elizabeth I, to historical, social and political influences on the evolution of music, and to the lives and works of great artists themselves, such as Dante, Shakespeare and Moliere. Such recreations have become popular over recent years. But in the early 1960s, Ars Antiqua's productions were path-breaking, offering a renaissance of all-but-forgotten treasures of early music and theater, some silenced for nearly 200 years due to lack of interest, awareness or the unavailability of period instruments. Ars Antiqua was one of the earlier groups to perform on instruments authentic to the Renaissance and Baroque periods. Dorothy Amarandos played a six-string bass viola da gamba. Other viols played by members of the company included the five-string violino pomposo, the seven-string viola d'amore (with seven sympathetic strings), six-string tenor and treble viols and the lute. Wind instruments included the recorder and similar instruments such as the rauchenfife and sordune, the hand horn (without valves), the double-reed crumhorn, and trombone-like sackbut. The vocal ensemble replicated the historical style of madrigal, troubadour, and sacred singing. The harpsichord, in the roles of both solo and accompaniment, provided continuous cohesion to the group's period sound. The Ars Antiqua had a distinctive period "sound". The group's interpretation of period music reflects approaches and techniques influenced by Eva Heinitz, a New York-based musical authority significantly responsible for the revival of the viola da gamba, as well as by Luigi Silva, Dorothy Amarandos' professor at Eastman who was an authority on Baroque cello. Although different from more recent interpretations of compositions for original instruments, Ars Antiqua's spirited performances stand on their own as products of superior skill and artistry. Performances were enhanced with colorful period costumes and interpretive sets, and were heralded by extravagant written programs, which were themselves masterpieces of art and design. Ars Antiqua aimed to provide total immersion in the senses as well as sounds of the chosen period. Many performances were complemented with extravagant banquets of food prepare
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