Francis Tregian Vidéos
compositeur britannique
Commémorations 2024 (Naissance: Francis Tregian)
- Royaume-Uni
- compositeur ou compositrice, écrivain ou écrivaine
Dernière mise à jour
2024-06-16
Actualiser
William Byrd Galliard Tregian John Bull Orlando Gibbons Giles Farnaby Peter Philips Hugh Aston Adlam Thomas Tomkins Steen 1553 1611 1650 1677 1973
Colin Tilney plays English virginal music. Released 1973 by Argo order number ZRG 675 SIDE ONE ITALIAN HARPSICHORD 00:00 William Byrd Pavan 'Tregian' 05:11 William Byrd Galliard 'Tregian' 07:03 Anon Upon La Mi Re 09:20 John Bull In Nomine no. 9 16:55 Orlando Gibbons Ground in A 19:14 Giles Farnaby Woody-Cock' SIDE TWO FLEMISH VIRGINAL 26:18 Peter Philips Pavan 'Dolorosa' 32:40 Peter Philips Galliard 'Dolorosa' 34:59 Hugh Aston Hornpipe 38:12 William Byrd Fantasia in A 46:24 John Bull My Grief 47:38 John Bull Alman in D 48:36 John Bull Alman in D 49:28 Anon. Chi Passa For this recording, modern copies of historical instruments have been used. The Italian harpsichord is by Jean-Pierre Batt, after the 1677 Faby of Bologna now in the Paris Conservatoire, and the Flemish virginal by Derek Adlam. This is a replica of the 1611 Andreas Ruckers Item: two fair pair of new long virginals made harp fashion of Cypress with keys .of Ivory, having the king's arms crowned and supported by his grace's beasts within a garter gilt standing over the said keys, with two cases to them covered with black leather, the inner parts of the lids to the said cases being of walnut, with sundry antics of white wood wrought in the same. Two Italian harpsichords, their outer protective or travelling cases covered with black leather and their lids elaborately inlaid; are thus described in an inventory of Henry VIII's instruments drawn up in 1553. Other entries mention single and double virginals, an automatic virginal that "goeth with a wheel without playing upon", and "a pair of single virginals with pipes ) underneath (a claviorganum). Such evidence illustrates clearly that ,virginal music was not written exclusively for small rectangular or polygonal instruments. In fact, until ab.out 1650, the word 'virginal' meant just about every keyboard except the organ. Thereafter we begin to find references to harpsichords and spinets, and the first English virginal proper makes its appearance, ironically enough preceding by only a few years the death of Thomas Tomkins, : the last of the virginalist composers. No English keyboard instrument from the sixteenth century having survived, the fitful occurrence of English virginal-makers' names in contemporary. documents is as unhelpful as it is tantalising. It seems likely that English musicians played chiefly on imports, first from Italy and later from Flanders, and this assumption is partly confirmed by constructional details typical of the two schools of building in the handful of native seventeenth-century harpsichords and virginals that survive. For this recording, -modern copies of historical instruments have been used. The Italian harpsichord is by Jean-Pierre Batt, after the 1677 Faby of Bologna now in the Paris Conservatoire, and the Flemish virginal by Derek Adlam. This is a replica of the 1611 Andreas Ruckers in the Vleeshuis at Antwerp. Its sea:horse papet, Latin mottoes, vermilion lines and marbled case caIl all be seen in pictures of Dutch interiors by such painters as Vermeer, Metsu and Jan Steen. No one record could give an adequate impression .of the English virginalists,- and music that suits what comes before and after 'itself _seems a better introduction to period than solemn chronology, yet there are certain restrictions underlying the choice of works in this recital. In the past, many performers have overplayed the attractive trifles cf virginalist literature - the toys, jigs, voltas, corantoes - and have thus obscured a real grandeur of achievement that has no parallel elsewhere. This "is an attempt to right the balance a little, although there is some light relief from all the splendour. Secondly·, I have concentrated slightly more on the earlier decades of virginalist writing (insofar as there can be any certain dating of manuscripts), because the. great service Byrd and his colleagues did the harpsichord was to establish it in idioms that were no longer derived from vocal music or from the organ, and the process is better worth· watching as it happens than afterwards. Here again, of course, no rules are hard or even fast: nothing could look less like organ music than the Aston hornpipe, and that was probably written while Byrd was still a boy. #Virginal #DerekAdlam # JeanPierreBatt #ColinTilney
William Byrd Hugh Aston Galliard Glenn Gould Horne Weelkes Thomas Tallis Tregian Ashton Thomas Tomkins 1558
Hugh Aston's Ground, for keyboard, MB 20 I. Pavan II. Galliard (4:45) Glenn Gould, piano Several sacred vocal works by Hugh Aston (c1486-Nov 1558) survive, but often in fragmentary form; his famous keyboard Hornepype, probably dating from no later than the 1530s, is a lively piece which possibly inspired Byrd's own Horne Pype (BK39). The bass used in this ground is derived from one found in a set of consort variations entitled Hugh Aston's Maske, a work by Aston probably based on a pre-existent popular bass tune. Other known compositions based on the same ground include an anonymous Mass setting and an exceptionally fine anonymous keyboard work found in Weelkes (f. 97v; see Musica Britannica Vol LXVI, No 57), which has some similarities to Byrd's work and might just possibly be an unidentified late work by Thomas Tallis. Byrd's work probably dates from the late 1570s. It is perhaps his only composition to exploit a high G sharp, a note that did not exist on most keyboards of the time. The composer may therefore have written it for a special instrument or a special patron. Could this be why it is called Tregian's Ground in the FVB? Indeed, only Nevell calls it Hugh Ashton's Grownde. The two titles need not be incompatible since the piece could have been written by Byrd for a member of the Catholic Tregian family, but built on Hugh Aston's bass. This 'long' ground (constructed on a repeating 12-bar bass pattern) in Aeolian A minor is one of Byrd's finest and most harmonically expressive works, balancing elaborate keyboard figuration and cogent contrapuntal discourse. There are twelve variations. The first five unfold gradually, with increasingly rich harmonies and subtle cross-rhythms until, at the end of Variation 5, the quavers break loose; the triplets of Variation 7 continue to carry the music forward. Variation 9 is the most closely argued in polyphonic terms; indeed, it is almost argumentative in nature. In Variations 10 and 11 the quavers run freely again and the work ends with a richly harmonised statement of the bass tune, finally exploiting the lowest part of the keyboard. Thomas Tomkins, an excellent judge of pieces, included this ground on his first list of Lessons of worthe, and himself wrote a ground on the same bass, unfortunately now lost. / Davitt Moroney Art by Pieter Isaacsz
Tóth Fuller Maitland Squire William Byrd John Dowland John Bull Thomas Tomkins John Munday Munday Thomas Morley Giles Farnaby Francis Tregian 1562 1612 1982
Zsuzsa Pertis harpsichord / csembaló Harpsichord of Dowd, Meantone temperament A-4 cps 115 Dowd csembalo, "Mittelltönig" hangolas A 415 Released 1982 by Hungaroton SLPX12345 Zenei rendezo I Recording producer: Ibolya Tóth Hangmernok I Balance engineer: Endre Radanyi Kotta I Scores: J. A. Fuller Maitland· and W. Barc1ay Squire Dover Publications, Inc. New York Photo: Janos Fabian Grafika I Design: Anna Kecskemeti Hungaroton felvetel I Hungaroton recording Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection (purchase former V&D Amsterdam) Face A 00:00 1. William Byrd: Jhon come kisse me now (X.) 4'48" 04:49 2. John Dowland, set by William Byrd: Pavana Lachrymae (CXXI.) 4'40" 09:30 3. William Byrd: The Maydens Song (CXXVI.) 4'40" 14:12 4. William Byrd: Fantasia (CCLXI.) 7' 23" 21:33 5. William Byrd: Sellinger's Round (LXIV.) 6' 21" Face B 27:55 1. John Bull: The King's Hunt (CXXXV.) 3'47" 31:39 2. Thomas Tomkins: A Grounde (CXXX.) 6'41" 38:20 3. John Munday: Goe from my window (XLII.) 5'04" 43:24 4. Thomas Morley: Fantasia (CXXIV.) 5'28" 48:50 5. Giles Farnaby: Wooddy-Cock (CXLI.) 5' 52" The Fitzwilliam Virginal Book is the most representative collection of Elizabethan keyboard instrument music in England. The quantity and make up of the vast manuscript, containing almost 300 pieces, provides what amounts to a cross~section of the first golden age of keyboard music; the earliest dated composition is marked 1562, the latest 1612 and all the important composers of the period are present. The manuscript is the work of an unfortunate gentleman Frands Tregian, who suffered many trials and tribulations because vf his adherence to Rome. His father, also Francis Tregian spent for almost thirty years in prison and later his son also was caught by the wheels of the church establishment: in J 609 he was sentenced to ten years of imprisonment. It is probable that he copied the complete material of the Fitzwilliam Virginal Book at this time. Later the valuable manuscript changed hands several times; it came into the POS4 session of the last owner, Viscount Fitzwilliam in the second half of the 18th century; today it is in the Cambridge Museum founded by him and bearing his name. The English keyboard instrument music of the 16-17th centuries is often called "virginal music". At this time, of the various kinds of harpsichords, it was this rectangular small instrument, which c:ould be placed on the table and often had no legs, which was the most popular in England. All sorts of instruments plucked with a plectrum and keyboard- equipped instruments were called "virginals", whether they were real virginals or spinets or of wing-shaped harpsichords. The title·,page of the first printed virginal book, Parthenia shows a virginal indeed, whereas that of the Parthenia in4 violata, written for viola da gamba and keyboardequipped instrument and published as a continuation of Parthenia, already illustrates a c1avicembalo-in both case the instruments bear the name Uvirginal~" . .. (The play on words refers to one of the possible etymologies of the word Hvirginal", i.e. that mostly young girls of quality played on this instrument of intimate tone, suitable for playing at home; virgo in Latin and parthenos in Greek both mean vi~gin1 Whatever the name was, one thing is certain : at the time of their writing English "virginal pieces" were played on . the most diverse instruments plucked with a plectrum and equipped with keyboards; the interpretation of some of the compositions moreover does not exclude the use of a small organ. #WilliamDowd #ZsuzsaPertis
ou
- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): T...