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Baroque, page 3

   Les titres retrouvé: 435
 

J. S. Bach - Organ Works

J. S. Bach - Organ Works
ID: OC573
CDs: 1
Type: CD
Collection:
Organ Collection

12.00 eur Temporarily out of stock

The Nightingale and The Sparrow • Music by John Bull • Giles Farnaby

The Nightingale and The Sparrow • Music by John Bull • Giles Farnaby
ID: GMCD7233
CDs: 1
Type: CD
Subcollection: Organ

Derek Adlam - Harpsichord, Organ, Muselar
12.00 eur Temporarily out of stock

J. S. Bach - The Universal Musician Masterworks for Clavichord - Derek Adlam

J. S. Bach - The Universal Musician Masterworks for Clavichord - Derek Adlam
ID: GMCD7232
CDs: 1
Type: CD
Collection:
Baroque
Subcollection: Keyboard

Recorded: The Priory Church of Our Lady and St. Cuthbert, Worksop, Nottinghamshire on 1-4 January 2001 by kind permission of the Vicar, the Reverend Fr. Andrew Wagstaff SSC.

The instrument used in this recording.

The clavichord was made by Derek Adlam in 1982. It is a copy of an instrument of 1763 by Johann Adolph Hass, Hamburg, Russell Collection, Edinburgh.

Brass strung, the clavichord has a five octave compass of FF to f3, unfretted, with an additional 4 foot string in the bass. The pitch is a1 = 405Hz, an approximation of mid-18th century Hamburg pitch.

Tuning: a sixth-comma system is used (Young 2), allowing free modulation but retaining a sense of key and chord colour.

The Clavichord

The clavichord appeared in Europe towards the end of the 14th century. By 1404, the terms clavichordium and clavicymbalum described clearly distinct stringed keyboard instruments. Many 15th century representations of keyboard instruments appear in stained glass, carvings, and in paintings and manuscripts. No instruments survive from before 1480, the approximate date of an upright harpsichord in the museum of the Royal College of Music, London. No clavichord before about 1540 has come down to us, but many depictions, treatises and poems relating to the clavichord give us a clear view of these earliest instruments and their use.

The clavichord’s method of tone production is unlike any other stringed instrument. The strings pass over a bridge glued to a soundboard, and their opposite ends are wrapped in a ribbon of woollen cloth which prevents their vibration. The strings are sounded by metal blades called tangents, driven into the distal ends of the key levers. When a key is depressed, the tangent rises to strike the string and, remaining in contact with it while the finger rests on the key, defines its speaking length like a second bridge. The tangent also isolates the speaking section of the string from the damping material, leaving it free to vibrate. When a key is released and the tangent falls away from the string, the damping fabric can once again stop the string’s vibration.

>The singular feature of this simple system is that the tangent strikes the string at one end of its speaking length, i.e. a part of a string normally fixed. In striking the string at a non-vibrating part, the tangent can supply it with only a very small amount of energy. The tangent’s sudden but slight displacement of the string from its plane of rest, and a small shock wave which travels down it towards the bridge, cause it to vibrate and produce its sound.

What then is the advantage distinguishing the clavichord from the harpsichord? Despite the small sound, a clavichord player can achieve a considerable range of loud and soft tone. This effect was impossible to achieve on any other keyboard instrument by the fingers alone before the invention of the Florentine piano at the end of the 17th century. The clavichord player also is in contact with the string itself, so remains in control of the means of tone production. By varying the pressure, effects (including a vibrato) can be obtained which are achievable only on the clavichord. The instrument takes on some of the characteristic inflections and modulations of the human voice, an ideal instrumentalists have aimed at throughout the history of western music. Its intimacy of tone led to its association with personal expression and philosophical reflection. It became a spiritual confidant and comforter in times of distress.

Throughout the 17th century, use of the clavichord became more localized and especially in France, Italy and England, it gradually fell from favour. In these countries, schools of composition developed which exploited the rich tonal characteristics and potential for brilliant technical display of plucked keyboard instruments. In Germany, the clavichord remained highly important as a study and practice instrument, particularly for organists. It also suited a tendency towards spiritual introspection amongst German composers.

Despite the clavichord’s popularity in Germany, almost no music was written specifically for the instrument before the musical innovations of Johann Sebastian Bach’s sons and the growth of a new, expressive Empfindsamer Stil, the ‘style of sentiment’. We have no definite proof of Bach’s opinion of the clavichord beyond a statement by his first biographer, Johann Nikolaus Forkel, 1749-1818, whose information supposedly came from Bach’s sons:

"…. he considered the clavichord the best instrument for study and for any music performed in an intimate setting. He found it the most able to express his most refined thoughts …. [and] capable of so many subtleties within its small scale…."

Forkel was one of a group of enthusiastic "Bachists" who continued to revere the works of Johann Sebastian and to promote the clavichord as an ideal instrument even in the face of the increasing popularity of the fortepiano. Even if Forkel’s report is not completely impartial, clavichords would without question have been used frequently in Bach’s household. It is appropriate to perform Bach’s keyboard music on the clavichord, even when the scale of a work seems to suggest a more powerful and extravert instrument. The scale of the instrument may be small, but its dynamic and expressive range can meet the requirements of music conceived on the largest scale. When heard with a receptive and unprejudiced ear, the clavichord’s limitations become insignificant.
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G. P. Telemann - R. Moelker -FANTASIE PER IL FLAUTO DI VOCE SENZA BASSO

G. P. Telemann - R. Moelker -FANTASIE PER IL FLAUTO DI VOCE SENZA BASSO
ID: ACD92HD03
CDs: 1
Type: CD
Collection:
Flute Collection

12.00 eur Buy

Spanish and Portuguese Keyboard Music, Vol. 2 - Felicja Blumental, piano

Spanish and Portuguese Keyboard Music, Vol. 2 - Felicja Blumental, piano
ID: BR0022
CDs: 1
Type: CD
Collection:
Baroque

Some may believe the music of 18th Century Iberian composers to be less interesting than the music from Germany, France and Italy of this period. However, these two volumes of keyboard music illustrate the originality of Spanish and Portuguese composers Angles, Albéniz, Cantallos, Carvalho, Ferrer, Freixanet, Jacinto, Seixas and Soler. At the beginning of the 18th Century, Louis XI was King of Spain. He felt little enthusiasm for Spanish national art and preferred foreign artists. Consequently, Italian singers and composers gradually influenced the aristocratic tastes and the court life in Spain. It was a similar situation in Portugal. When King Johan V (1707-1750) became ruler of Portugal, he set about cultivating the arts in the city of Lisbon. Portuguese musicians had the opportunity to take apprenticeships in Italy while Italian musicians, such as Domenico Scarlatti were welcomed into Lisbon to perform. The authoritative musical figures during this time were! men of the church. Father Antonio Soler was a friar, organist and composer as well as an important theoretician who dominated the musical scene in Spain. The first pianofortes were being manufactured and Soler was fortunate to have a piano at the monastery. Although he wrote for the organ, the compositional quality of his keyboard works show that he had the piano in mind. His Portuguese counterpart was José António Carlos de Seixas. Seixas became Portugal?s finest keyboard player of this period who bridged the gap between Baroque and Classical eras. Both composers did not simply duplicate Italian idioms, but developed and expanded the style while recalling their Spanish and Portuguese roots. They blended vocal-like melodies into quasi-contrapuntal lines and simple block harmonies. This formed a model on which classical composers such as Haydn and Mozart were to base their compositions.
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Spanish and Portuguese Keyboard Music, Volume 1- Felicja Blumental, piano

Spanish and Portuguese Keyboard Music, Volume 1- Felicja Blumental, piano
ID: BR0021
CDs: 1
Type: CD
Collection:
Great Performers

Featuring Felicja Blumental on piano, this is the first of two volumes released to celebrate 300 years of Carlos Seixas. This collection presents the keyboard works of by Iberian composers, Soler, Angles, Albéniz, Cantallos, Seixas, Jacinto and Carvalho.
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Heinrich Schütz - Sacred Choral Music - Die Vögel unter dem Himmel

Heinrich Schütz - Sacred Choral Music - Die Vögel unter dem Himmel
ID: DCD34043
CDs: 1
Type: CD
Collection:
Baroque

The massed voices of the 140-strong National Youth Choir revel in the magnificently soaring lines of Schütz’s sacred music, complemented by John Kitchen’s contributions on the powerful Rieger organ of St Giles’ Cathedral, Edinburgh. Revered by his contemporaries as the ‘Orpheus of our time’, Schütz would never have heard his music performed by forces such as these and on such a scale - surely he would have been a strong advocate of this astounding aural experience. Kitchen’s solo contributions contextualise the choral music with organ works by Samuel Scheidt and other contemporaries of Schütz.

Track listing

Scheidemann:
Toccata in G

Scheidt:
Postlude: Benedicamus Domino à 6 (modus pleno organo pedaliter)
Ein kindelein so lobelich
Da Jesus an dem Kreuze
Ein feste Burg ist unser Gott, for organ, SSWV 496

Schütz:
Psalm 84: Wie lieblich sind deine Wohnungen, SWV 29
Ich weiß, daß mein Erlöser lebt, SWV 393
Die Himmel erzählen die Ehre Gottes, SWV 386
So fahr ich hin zu Jesu Christ SWV 379
Die mit Tränen säen werden mit Freuden ernten SWV 378
Psalm 130: Aus der Tiefe ruf ich, Herr, zu dir, SWV 25
Psalm 8: Herr, unser Herrscher, SWV 27
Cantate Domino canticum novum SWV 81
Deutsches Magnificat, SWV 494 'Meine Seele erhebt den Herren'
Psalm 98: Singet dem Herrn ein neues Lied, SWV 35
Psalm 150: Alleluja! Lobet den Herren in seinem Heiligtum SWV 38
Edward Batting (organ)

Sweelinck:
Puer nobis nascitur C 12

John Kitchen (solo organ)
The National Youth Choir of Great Britain, Mike Brewer
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La Preciosa - The Guitar Music of Gaspar Sanz - G. Ferries, baroque guitar

La Preciosa - The Guitar Music of Gaspar Sanz - G. Ferries, baroque guitar
ID: DCD34036
CDs: 1
Type: CD
Subcollection: Guitar Music

It was a time when the five-course guitar engendered a sense of abject horror in the morally inclined on account of its associations with popular ballads, taverns, criminality, sensuality and in particular with dancing. Ferries evokes the period with panache and breathtakingly virtuosic flair.

Track listing

Sanz:
Jacaras I & II
Passacalles sobre la D
Marionas
Fuga por la primer tono al ayre español
Pavanas por la D, con partidas al aire Espanol
Zarabanda
Suite in e minor
Coriente
Zarabanda Francesa
Passacalle
Canarios I & II
Folias
Matachin
Chacona
Passacalles por la C
Villanos
La coquina Francesa
Lantururu

Gordon Ferries (baroque guitar)
12.00 eur Buy

Pachelbel - Organ Works Vol.2 - Matthew Owens, organ

Pachelbel - Organ Works Vol.2 - Matthew Owens, organ
ID: DCD34031
CDs: 1
Type: CD
Collection:
Baroque

Matthew Owens, currently Organist and Master of the Choristers at Wells Cathedral, continues his survey of Johann Pachelbel's organ music on British instruments. For volume II, Owens has opted for the Frobenius organ at Edinburgh's Canongate Kirk, renowned for its intimacy and fine pedigree; its sophisticated tones and colours are heard here in the service of Pachelbel's devout and wide-ranging inspiration.

Track listing

Pachelbel:
Toccata in G minor
Nun komm der Heiden Heiland
Herr Christ, der einig Gottes Sohn
Wir glauben all' an einen Gott
Wie schön leuchtet der Morgenstern
Aria Prima in D minor
Fugue in A minor
Jesus Christus, unser Heiland der vons uns
Dies sind die heilgen zehn Gebot
Fugue in C major
Vater unser im Himmelreich
Ich ruf zu dir, Herr Jesus Christ
Nun lob, mein Seel, den Herren
An Wasserflüssen Babylon
Fugue in D minor
Magnificat tertii toni

Matthew Owens (Frobenius Organ at Canongate Kirk, Edinburgh)
12.00 eur Buy

M. Wise - Sacred Choral Music - The Choir of Gonville and Caius College, Cambridge

M. Wise - Sacred Choral Music - The Choir of Gonville and Caius College, Cambridge
ID: DCD34041
CDs: 1
Type: CD
Collection:
Sacred Music

Chastised for his 'excesses in life and conversation', Michael Wise was hit about the head and 'kill'd downright' by the night watchman in Salisbury Cathedral, robbing history of one of the period's most prolific and respected composers and St Paul's Cathedral of its forthcoming Master of the Choristers.This recording, the first dedicated to Wise's music, is testament to the more respectable music making that is Wise's legacy.

The Caius singers under Geoffrey Webber serve the music with an ideally informed and energetic rigour, their second volume of music from the Restoration.They take a break from that in July when they partner the choir of Kings College, London to record Shchedrin's The Sealed Angel.

Track listing
anon.:
[Verse] in D major
[Double Voluntary] in D minor

Gibbons, O:
Verses for Single Organ

Locke:
[Verse] for the Organ

Wise, M:
Prepare ye the way of the Lord
How are the mighty fallen
The Lord is my shepherd
Te Deum
Jubilate Deo (Service in D minor)
O praise God in his holiness
Magnificat
Nunc dimittis (Service in E flat)
The ways of Zion do mourn
Awake, put on thy strength O Sion
Have pity upon me
O ye my friends
Open me the gates of righteousness
Blessed is he that considereth the poor and needy



Geoffrey Webber (conductor & solo organ) & Thomas Hewitt Jones & David Ballantyne (organ scholars)
The Choir of Gonville and Caius College, Cambridge
12.00 eur Buy

 
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