Uisnech
A Dictionary of Celtic Mythology
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2004
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© A Dictionary of Celtic Mythology 2004, originally published by Oxford University Press 2004. (Hide copyright information)
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Uisnech, Uisneach, Uisneagh, Uishnach, Ushnagh, Ushney, Usna, Usnagh, Usnech, Usney, Uisnig (gen.), Uisnigh (gen.). Hill (602 feet) in Co. Westmeath, 12 miles W of Mullingar, that has played a significant role in the Irish imagination. Long thought of as the centre, navel, or
omphalos of the island, Uisnech contains a stone [Ail na Mírenn, stone of divisions] marked with lines showing where the borders of the five provinces (
Connacht,
Leinster,
Ulster, and
Munster considered as two) met; most of the hill was thought to be in the Connacht portion. As a ceremonial site Uisnech is second only to
Emain Macha. Although far from lofty, the top of Uisnech can be seen from great distances, which partially explains its continued use for the burning of ritual fires. In the pseudo-history
Lebor Gabála [Book of Invasions], the
Nemedian druid Mide (eponym of
Meath) is credited with lighting the first fire there. Excavations in the early 20th century revealed huge beds of ash. Evidence from literary and oral tradition testifies that Uisnech was a favoured site for
Beltaine fires and druidical ceremonies, especially the driving of cattle. The legendary
Tuathal Techtmar (1st–2nd cent. AD) was thought to have founded the annual fair or óenach that continued to early modern times, which was also attributed to the goddess
Ériu. At its peak this was one of three great festivals of Ireland, along with
Tailtiu and
Tara. At Uisnech
Lug Lámfhota was killed by
Mac Cuill,
Mac Cécht, and Mac Gréine, the sons of
Cermat. Although Uisnech is always a place, not a person, Noíse and his brothers Ardan and Ainnle are called the ‘sons of Uisnech’ in the Irish title of the
Deirdre story,
Longas mac nUislenn [The Exile of the Sons of Uisnech]. Nevertheless, James
Macpherson based the character
Usnoth on Uisnech. See also
KERMARIA of BRITTANY;
PUMLUMON of WALES.
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Luca Marenzio: the career of a musician between the renaissance and the counter-reformation.(Classical Composers)(Book Review)
Magazine article from: Notes; 9/1/2004; ; 700+ words
; Luca Marenzio: the Career of a Musician between the...translation into English of Marco Bizzarini's Marenzio: La carriera di un musicista tra Rinascimento...published before the quatrocentenary of Marenzio's death in 1999. That book was quickly...
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Bibliografia delle opere dei musicisti resciani pubblicate a stampa dal 1497 al 1740. Opere di singoli autori.
Magazine article from: Renaissance Quarterly; 6/22/1996; ; 700+ words
; ...and grant from the Centro di Studi Musicali "L. Marenzio" in Brescia, the noted musicologist Oscar Mischiati...being the birthplace (i.e., Coccaglio) of Luca Marenzio. Although Marenzio never practiced his profession in Brescia, it...
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Giovanni Contino.(Critical Essay)
Magazine article from: Notes; 9/1/2000; ; 700+ words
; ...Brescia as maestro di cappella (where he may have taught Luca Marenzio), and for Duke Guglielmo Gonzaga in Mantua, where...later. Thanks in part to the Centro di Studi Musicali "Luca Marenzio" in Brescia, Contino's music has begun to appear...
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Singers find splendor
Newspaper article from: The Milwaukee Journal Sentinel; 10/12/2003; ; 619 words
; ...Costanzo Festa, Sanctus also by Palestrina, Agnus Dei by Luca Marenzio -- woven among motets by Johannes Bonnevin, Johannes...Melchor Robledo, Tomas Luis de Victoria, Palestrina, Marenzio and Felice Anerio. The program covered about 80 years...
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Hexachords in Late-Renaissance Music.(Review)
Magazine article from: Notes; 6/1/2000; ; 700+ words
; ...de Lassus, Cipriano de Rore, Giaches de Wert, and Luca Marenzio. Similarly, in chapter 4, he examines settings of...Cruda Amarilli" (from Il pastor fido) by Wert, Marenzio, Benedetto Pallavicino, and Claudio Monteverdi. A...
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CLEMSON CHORAL CONDUCTOR TO MAKE DEBUT PERFORMANCE
News Wire article from: US Fed News Service, Including US State News; 11/10/2009; 700+ words
; ...want to die), "Contre Qui Rose" (Against whom, Rose) by Morten Lauridsen, and "Sweet Singing Amarills" by Luca Marenzio. "These three selections showcase the development of the madrigal from its height during the Renaissance through...
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Paolo Quagliati.(Review)
Magazine article from: Notes; 12/1/1999; ; 700+ words
; ...polyphonic. The polyphonic sections of these works are airy in texture, resembling the four-voice madrigals of Luca Marenzio, Giovanni Croce, and their English imitators. They feature short contrapuntal points, which quickly blend into...
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Le fonti liturgiche a stampa della Biblioteca musicale L. Feininger presso il Castello del Buonconsiglio di Trento.
Magazine article from: Notes; 12/1/1996; ; 700+ words
; ...Roman musicians but also Orazio Benevoli, Giacomo Carissimi, Agostino Diruta, Giovanni Gabrieli, Orlando di Lasso, Luca Marenzio, and Giovanni Pierluigi da Palestrina). Relatively few works in the collection have been edited. By contrast...
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Madrigali a cinque voci.
Magazine article from: Notes; 12/1/1996; ; 700+ words
; ...Willaert, Cipriano de Rore, Orlando di Lasso, Giovanni Pierluigi da Palestrina, Andrea Gabrieli, Giaches de Wert, Luca Marenzio, and Claudio Monteverdi. And filling in the picture further are the works of some slightly less-central figures...
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Glorious Voices: Renowned female vocal quartet Anonymous 4 to perform works celebrating classical deities
Newspaper article from: The Independent Weekly; 4/10/2002; ; 511 words
; ...musicians and composers associated with St. Mark?s Cathedral in Venice during the 16th century. In the same period, Luca Marenzio and Jacob Arcadelt were papal chapel musicians in Rome. But it?s the curious things they did on their nights off...
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Luca Marenzio
Encyclopedia entry from: Encyclopedia of World Biography
Luca Marenzio The Italian composer Luca Marenzio (c. 1553-1599) was the greatest master of the Italian...influence in the development of the English madrigal school. Luca Marenzio was born in Coccaglio and may have been a chorister in the...
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madrigal
Book article from: The Columbia Encyclopedia, Sixth Edition
...imitative style, the expression closely allied to the text. In the last part of the 16th cent. composers such as Luca Marenzio, Carlo Gesualdo (c.1560-1613), and Monteverdi intensified the expression of the text by the use of chromaticism...
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