Thurston Dart (harpsichord, organ) Early English Keyboard Music II, W. Byrd & T. Tomkins

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  • Опубликовано: 29 окт 2024

Комментарии • 20

  • @Macross_Turk
    @Macross_Turk 7 месяцев назад +2

    thank you very much. Excellent.... Viva la modern harpsichord

  • @AlejandroGiannini-t6r
    @AlejandroGiannini-t6r 7 месяцев назад +3

    Que maravilla poder oir y disfrutar estas hermosas obras ❤😮❤

  • @robertlord1582
    @robertlord1582 6 месяцев назад +1

    I love the Goff harpsichord sound. Memories, memories . . . I'm grateful the recordings live on.

  • @志宏高
    @志宏高 7 месяцев назад +2

    So nice hearing experience!Thank you very much!!

  • @patricklynch1962
    @patricklynch1962 7 месяцев назад +2

    This is really quite lovely. Thank you.

  • @IrisU-w5f
    @IrisU-w5f 8 месяцев назад +4

    Wonderful to hear ❤

  • @ChildfreeMatto
    @ChildfreeMatto 8 месяцев назад +6

    I love to hear the harpsichord, and organ preforming early English music. The Thomas Goff harpsichord does have its own distinctive sound, one I do enjoy. 😊 Thank you again, Harpsichord Vinyl Gallery for uploading another relaxing album after another hard night at my workplace. 🤗

    • @HarpsichordVinylGallery
      @HarpsichordVinylGallery  8 месяцев назад +1

      What a player Thurston Dart was. A pity it was a mono recording but for the history of recorded harpsichord music I could not ignore it since the vinyl wasn't damaged, so I guess it was not used for loud beer parties with flashing neon lights. Yes you are right a very distinctive sound of the Thomas Goff harpsichord.

    • @ChildfreeMatto
      @ChildfreeMatto 8 месяцев назад +1

      @@HarpsichordVinylGallery It was wonderful since it wasn't scratched and you were able to upload. Even in mono the sound quality wasn't to bad at all. To hear this recorded with modern technology would be fascinating to hear.

    • @clavichord
      @clavichord 8 месяцев назад +1

      ​@@HarpsichordVinylGallery I always play William Byrd at loud beer parties with fashing neon lights 🤪

    • @HarpsichordVinylGallery
      @HarpsichordVinylGallery  8 месяцев назад

      @@clavichord🙂

  • @daulab
    @daulab 8 месяцев назад +3

    Wonderful tunes💖

  • @TB-us7el
    @TB-us7el 8 месяцев назад +2

    Very nice "crunchy" sounding harpsichord, great playing too. Thanks.

    • @HarpsichordVinylGallery
      @HarpsichordVinylGallery  8 месяцев назад +1

      The sound of the instrument reminds me somehow of the timbre of a German or Hungarian citer. Lots of sustains and a sharp metallic tone.

  • @HarpsichordVinylGallery
    @HarpsichordVinylGallery  8 месяцев назад +1

    *_Thurston Dart wrote for this recording about William Byrd and Thomas Tomkins 1/1_*
    THE COMPOSERS AND THE MUSIC
    WILLIAM BYRD was born about 1543 and became organist of Lincoln Cathedral
    early in 1562-3. Seven years later he was sworn a Gentleman, of the Chapel Royal, and
    soon afterwards he became Tallis's assistant as organist of the Chapel the friendship
    thus established with Tallis seems to have remained very close, and when Tallis died
    in 1585 Byrd composed a most eloquent commemorative elegy ending with the words
    Tallis is dead, and Music dies'. Byrd's later life was spent almost wholly in and around
    London, at Harlington in Middlesex, and lastly at Stondon Massey in Essex ; here he
    died on July 4, 1623. Skilled in every branch of music, a prolific composer, a notable
    performer, and a beloved teacher, William Byrd holds an assured place as one of the
    greatest European composers of his time. .
    The music on this disc is taken 'from three sources : the fine manuscript collection of
    Byrd's keyboard music copied for Lady Nevel by the famous musical calligrapher
    John Baldwin of Windsor, and completed in 1591; the Fitzwilliam Virginal Book,
    copied by the recusant Francis Tregian during his long imprisonment in the Fleet
    (1609-19); and the printed collection Parthenia .first published in about 1612.
    1. Lord Willoby's Welcome Home (Nevel, no. 33). A short set of variations on a
    favorite ballad tune, widely current in England and the Low Countries at this time;
    the tune Was also k,nown as 'Rowland" and 'Soet Robbertgen'. Many ballads were
    written to this tune, and, the best known of them was probably the one Byrd had in
    mind; it begins
    __''The fifteenth day of July, with glistering spear and shield
    __ A famous fight in Flanders was foughten in the fie ld;
    __ The most couragious officers was English Captains three
    __ But the bravest man in battell was brave Lord Willoughby.'
    2. The First Pavan and Galliard (Nevel, nos. 10 and 11). Of all contemporary
    dance-forms, the pavan and galliard played the most decisive part in the development
    of early English keyboard music. Skilled use of elaborate counterpoint, effortless
    melodic creation and elaboration, and an unerring harmonic sense: these allowed
    Byrd to mould the rigid pattern of the dance-forms into music that seems inexhaustible
    in its rich variety and charm. ' The set of pavans and galliards in My Ladye Nevels
    Booke include some of Byrd's finest keyboard music; for the most part Byrd's pavans
    and galliards are cast in the classic form of A: A varied: B: B varied: C : C varied.
    According to a note in Tregian's hand in the margin of the' Fitzwilliam Virginal Book.
    this pavan is 'the' first that ever '[Byrd] made': it is also known in a version for solo
    lute.
    3. The Queen's Alman (FWVB, no. 172). This was presumably composed for Queen
    Elizabeth I, to whose personal sympathy and love of music Byrd was greatly indebted.
    4. The Fifth Pavan and Galliard (Nevel; nos. 18 and 19). Like the earlier pavan and
    galliard, these are in C minor-a key Which Byrd used for some of his most deeply felt
    music. The galliard is especially remarkable for the beauty of its tune and the
    variety of its rhythm.
    5. The First French Coranto (FWVB, no. 218). During the earlier years of the
    seventeenth century, the newer dance-forms of the duple-time alman and triple-time
    coranto steadily displaced , the more old-fashioned pavan and galliard from the commanding
    position they had held. The harmonic structure of this coranto is closely
    related to the fine pavan 'Belle qui tient ma vie' found in Arbeau's Orchésographie
    (1588) and used by Peter Warlock in his Capriol Suite.
    6. Pavan and two Galliards 'The Earl of Salisbury' (Parthenia, nos. 6-8). For more
    than fifty years after it was first published Parthenia remained virtually the only
    printed book of keyboard music obtainable in the British Isles. Its contents were by
    'three famous Masters, William Byrd, Dr. John Bull and Orlando Gibbons, Gentlemen
    of his Majesties most Illustrious Chappell', and Byrd's contribution to the volume was
    a notable one. This well-known pavan is doubly unusual: first, it consists of only two
    strains, and the customary varied repeats are missing; secondly, it is followed by two
    galliards, the second of them being dedicated to a Mrs. Mary Brownlo. She would seem
    to have been one of Byrd's many friends and patrons, some of them (like Lady
    Peneiope Rich) among the most important and influential persons in the country,
    many of them remaining like Byrd himself, loyal to the older faith of their ancestors.
    THOMAS TOMKINS was born at St. David's in 1572; his father was organist of
    St. David's Cathedral. Like many of the leading English composers of his .time,
    Tomkins was a pupil of William Byrd. In about 1596 , he was appointed organist of
    Worcester Cathedral, and he stayed there for the greater part .of his life, spending his
    last years in the house of his son Nalhamel; here he dIed in June 1656. In 1621
    he was appointed one of the organists of the Chapel Royal but, lIke many such
    appointments its duties were mainly honorary and he continued to direct the services
    at the Cathedral until these were suspended during the Civil War. Thereafter Tomkins
    lived quietly at home, continuing to compose, keyboard music and probably assembling
    the material for his (posthumous) collection of Anglican Church music, Musica
    Deo Sacra. The anthems and services this contains are Jacobean in style and they contain
    little or no hint of the new devices, adopted by such men as Locke, that were to
    point the way to the church music of Blow and Purcell. It would seem that here, as in
    so much of his keyboard music, Tomkins felt that he had outlived the great age of
    music into which he was born; and towards the end of his lIfe his thoughts seem to
    have turned more and more towards the styles and forms he had known as a young
    man. His greatest contribution to English music of the seventeenth century probably
    lies in his church music and his compositions for keyboard. A fortunate chance has
    preserved a number of the manuscripts of keyboard music that were once in Tomkins'
    own library, and some of these are in his own hand - hIs working copIes, containing
    precious evidence of how he set about composing, of how he revised and added to
    earlier work, of his personal tastes, and even of his political opinions. The late Professor
    Tuttle of. Harvard University prepared a complete edition of all Tomkins' keyboard
    music (Musica Britannica, vol. V), and Dr. Tuttle's text has been used as a
    basis for this recording.
    1. Worcester Brawls (MB V, no. 65). 'Brawls' was the English name for the' French
    'bransle simple'; Morley says that it 'goeth somwhat rounder in time then [the alman],
    otherwise the measure is all one'.
    2. Pavan and GalIiard Earl Strafford (nos. 41 and 42). The pavan is dated September
    29, 1647. Tomkins also wrote a longer version of each of these dances, in which
    the repetitions were elaborately ornamented. Earl Stratford was the notorious'us Royalist
    politician.
    3. Clarifica me Pater (no. 4). Dated September 1650. A settIng of one of the Sarum
    antiphons: the Mulliner Book contains three fine settings by Thomas Tallis. The
    choice of the canto fermo and the severely archaic style of the accompanying counterpoints
    may serve to illustrate how the aged Tomkins deliberately chose to recall a
    period that few save him can have remembered.
    4. Pavan and Galliard in A Minor (nos. 41 and 48). Dated September 4 and 7,
    1654: two of Tomkins' last works. The music seems to belie its date, for its rich
    texture and technical resource recall the pavans and galliards of Parthenia, first published
    more than forty years earlier.
    5. Toy: made at Poole Court (no. 67). , Perhaps this is Poole Court in Dorset;
    Tomkins, like his contemporary John Jenkins, was a welcome guest in the houses of
    his friends and patrons, and both musicians seem on occasion to have composed a
    memento of their visit for their host.
    6. Fancy: Voluntary (no. 30). Much of Tomkins' surviving organ music is excellent,
    but it is curious to note that unlike Gibbons, or Lugge of Exeter, he never seems
    to have composed expressly for the two-manual organ. Since he is known to have had
    a fine 2-manual instrument by Dallam at the Cathedtal, it seems probable that most of
    his more elaborate organ music must have been lost. This fancy is on a single point
    of imitation, most skillfully guided through a maze, of harmony.
    7. Pavan and Galliard in G major (nos, 49 and 50). Tomkins wrote two versions
    of the first strain of the galliard; since he did not indicate which one he preferred both
    have been used in this recording. . '
    8. Variations on 'What it a day' (no. 64). The poem is by Campion (a setting - not
    this one - was included in Alison's collection An Houres Recreation in Musicke.
    Published In 1606), and the tune used by Tomkins seems to have been widely current
    during the earlier years of the seventeenth century. Its bitter-sweet words might well
    have appealed to TomkIns:
    'What if a day or a month or a year
    Crown thy delights with a thousand sweet contentings;
    Cannot a chance of a night or art hour
    Cross thy desires with as many sad tormentings?
    Fortune, honour, beauty, youth
    Are but blossoms dying;
    Wanton pleasures, doting love
    Are but shadows flying.
    All our joys
    Are but toys,
    Idle thoughts deceiving.
    None have power
    Of an hour
    In their lives bereaving.'
    THURSTON DART

  • @_PROCLUS
    @_PROCLUS 7 месяцев назад

    💝💝💝 TY

  • @nataliadebach1854
    @nataliadebach1854 6 месяцев назад +1

    ❤❤❤

  • @Macross_Turk
    @Macross_Turk 7 месяцев назад +1

    Old virtuosos are talented enough to transfer the soul of music to the instrument. They can reveal what the composers want to make you feel. But the new virtuosos play very nervously and flatly. I can't enjoy it at all and I'm not interested in any records made after 1990. The new generation virtuosos just shake physically, use the instrument as if beating, and destroy masterpiece compositions. Live in my heart Thurston Dart and other harpsichordists of his time.