William Byrd The Marche before the Battell Vídeos
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Neupert William Byrd Carman John Munday Munday Martin Peerson John Bull Lombard Frescobaldi Quantz Rousseau 1543 1562 1567 1572 1623 1628 1630 1650 1697 1968 1969
Silvia Kind: Neupert harpsichord (Bach-model) Instrument not mentioned in the documentation. Released 1968 by Turnabout Vox, New York 34200 (London release 1969) Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection TABLE OF CONTENTS SIDE I (23'33) 00:00 1. WILLIAM BYRD +••.••(...)) "The Carman's Whistle" (4'54) 04:52 2. JOHN MUNDAY ( ? -1630) "Fantasia" (4'18) 09:10 3. MARTIN PEERSON +••.••(...)) "The Primerose" "The Fall of the Leafe" (3'35) 12:44 4. ANONYMOUS "Muscadin" (1'00) 13:46 5. WILLIAM BYRD +••.••(...)) "The Bells" (5'32) 19:18 6. DR. JOHN BULL (c. 1562-1628) "The King's Hunt" (3'57 ) SIDE II (19'14) WILLIAM BYRD ''THE BATTELL" 23:22 The Marche before the Battell 26:03 The Soldiers Sommons 27:04 The Marche of the footmen 28:01 The Marche of the horsmen 29:09 The Trumpetts 30:14 The Irish Marche 31:42 The Bagpipe and the Drone 33:37 The Flute and the Droome 34:45 The Marche to the Fighte 36:56 The Retreat 37:37 The Galliarde for the Victorie 39:37 The Soldiers Dance 40:23 The Burying of the Dead Most so-called baroque concert programs today have little to do with the Baroque· as we understand it -in terms of art and architecture. Musical selections are taken from the middle and end of the 18th century; however, the majestic baroque church "Del Jesu" in Rome was built in 1567, and the word "baroque" itself means "grand gesture," "splendor," and it is recognized so in terms of paintings, architecture, sculpture and poetry. Should baroque music therefore be denied any of this great breadth? Throughout the world of the harpsichord, there is a streak of puritanism, but one cannot separate passion and exuberance from the word baroque. Is it correct to interpret baroque music literally? No. A literal interpretation would be an adulteration. Baroque music is based firmly on the rubato principle. Rubare means "to rob." Whatever one robs from one place one must give to another in order to maintain the rhythmic balance. That is the idea behind J eu inegal, which was already described in the 16th century as a tradition in Spain, and used by the Italians and French. J eu inegal is a hardly noticeable rhythmic punctuation of notes of equal value written . down in scales of . eighth-notes. The Italians ,preferred the Jambus (Lombard rhythm), the French the Trochaeus. When they wanted the eighth-notes played in regular rhythm, they wrote down mesure. Another example of Baroque rhythmic variation appears in the French overture: a scale written down in sixteenth-notes fs begun later than it appears on the printed page, and in order to catch up with the other parts races to the end in thirty-second notes. This old virtuoso trick was required by Frescobaldi in the 17th century, and by Quantz in the 18th. In more contemporary music rhythmic variations were customary as well. F~r example, in the waltz, although the 3/ 4 time indicates three solid beats to a measure, it cannot be properly danced unless the second beat is rushed slightly and the third is held. Important · in the interpretation of baroque music are the appoggiaturas - mostly not written down -, dissonant petites notes perdues, dispersed either ascending or descend:i g between notes of the melody. ' . There is a clue to the performance practice- of appoggiaturas in Traite de La Viole, a 1697 treatise by Jean (not Jean-Jacques) Rousseau. He writes: a) Appoggiatura: In pieces meant to express something terrible or frightful, the appoggiatura has to be performed in a rash' and flamboyant manner. b) Trill: In tender and languishing airs, the trill must be performed caressingly, and in gay airs it must be lively. The different embellishments used throughout the history of music have always depended #Neupert #SilviaKind
William Byrd Elgar Elgar Howarth Galliard Philip Jones Philip Jones Brass Ensemble 1591
Originally composed for keyboard. I. The Marche before the Battell, T 485 (BK 93) II. The Battell, T 441 (BK 94) a. The Souldier's Sommons b. The Marche of the Footemen c. The Marche of the Horsemen d. The Trumpetts e. The Irish Marche f. The Bagpipe and the Drone g. The Flute and the Droome h. The Marche to the Fight– Tantara Tantara – The Battells be Ioyned i. The Retreat j. The Buriing of the Dead k. The Morris l. Ye Souldiers Dance III. The Galliard for the Victorie, T 463 (BK 95) IV. The Earle of Oxford's Marche. Performed by the Philip Jones Brass Ensemble conducted by Elgar Howarth.
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