Wallace Brownlow Vidéos
artiste lyrique
- baryton
- Royaume-Uni de Grande-Bretagne et d'Irlande
Dernière mise à jour
2024-06-01
Actualiser
William Byrd Berg Matthes Galliard Gaillard Hugh Aston Brownlow Vary 1579 1580 1622 1660 1974
Colin Tilney Italian harpsichord and Flemish virginal The Italian instrument is an unsigned and undated harpsichord which on account of certain characteristics suggests the probability that it was made in the mid-17th century. The Flemish instrument comes from the workshop of Martinus van der Biest and was made in 1580. Produzent Gerd Berg Tonmeister Johann Nikolaus Matthes Released 1974 by EMI Electrola in the series Reflexe 1C 063-30 120 Cover design Roberto Patelli Diese Platte entstand in Zusammenarbeit mit dem Germanischen Nationalmuseum, Nurnberg Thanks to Daniël who let me browse the famous Daniël Beuman harpsichord collection Seite 1 00:00 Pavan and Galliard in G (MB 72a und b) * 05:10 Fantasia in D minor (MB 1) * 10:50 Lachrymae Pavan (MB 54)'** 16:02 Gaillard In· D minor, 4' (MB 53)/ 17:54 Hugh Aston's Ground (MB 20)" Seite 2 26:19 Prelude in C (MB 24)/ 27:12 Mistress Mary Brownlow's Galliard (MB 34)/ 30:28 The Quadran Pavan (MB 70a) " 39:31 The Quadran Galliard (MB 70 b) * 44:16 Pavan and Galliard in C minor (MB 31 a und b)/ 50:19 Coranto in C 4'/ MB = Musica Britannica * Italienisches Cembalo (17. Jhdt., unsigniert)/ Flamisches Virginal von Martinus van der Biest, Antwerpen About the Instruments In the second half of the 16th and the first half of the 17th century the art of music composed for domestic keyboard instruments rose to its climax in England. Those numerous English composers that wrote works for these instruments are all known under the name of virginalists. Up to about 1660 any type of harpsichord - harpsichord proper, clavicytherium, virginal or spinet - was called virginal: Only from about 1660 onwards was the term harpsichord used, the term virginal being limited to virginal and spinet. Thus these virginalists are composers that composed for the harpsichord. At the time of the virginalists there must have been a great number of harpsichords to perfom these works. The fact is that the inventory of instruments owned by King Henry VIII, who had a great gift for music, contains an amazingly large number of keyboard instruments. Queen Elizabeth as well has played the virginal. But this does not imply that all these harpsichords favoured as they were have been of English origin. In the 16th century, it is true, there are known the names of 16 harpsichord makers in England, but at least some of them give the impression that their bearers immigrated to England.ln the Victoria & Albert Museum there is a harpsichord dating from the year 1579, made in London by a local harpsichord maker, whose name was Lodewijk Theeuwes and who was of Flemish descent. In this museum there is also a spinet that is said to have been in the possession of Queen Elizabeth I. It is beyond all doubt a Italian instrument. The oldest hapsichord preserved of definite English origin dates from 1622. Without doubt the English virginalplayers did not only use autochthonous instruments, but also imported them from Italy and Flanders. Thus history gives reason for the fact that an English and an Flemish keyboard instrument have been used for this recording. The Italian instrument is an unsigned and undated harpsichard wh ich on account of certain characteristics suggests the probability that it was made in the mid-17th century. Apart from two devices to vary the timbre - which, by the way, are not used in this recording - the instrument is exceptionally conservative, so that one may suppose its sound to be most similar to that of the instruments that were used in Byrd 's lifetime. The Flemish instrument comes from the workshop of Martinus van der Biest and was made in 1580. It is an instrument that is called virginal according to the German terminology. In such an instrument the strings lie horizontally, but parallel to the keyboard. Contrary to the wing-shaped spinet the virginal is oblong and . rectangular in shape. The harpsichord used here is not the usual type, but a double-virginal. With the Antwerp speciality the keys are on one (here the left) side, whereas the key-free side . (here on the right) can hold an octavevirginal. This ottavino may also be placed on the big instrument and both are coupled, so that the pitch on the keyboard below is 8-foot/4-foot. Two works of this recording are performed on the double-virginal in this way: Gailliard in 0 minor (Side 1) and Coranto in C major (Side 2) . The instruments used here form part of the collection of old instruments in the German National Museum, Nuremberg. The Italian harpsichord is owned by Dr. Dr. h. c. Ulrich Rock and forms part of his collection of historical instruments. ln this recording both instruments are mean-tone tuned. John Henry van der Meer, translation by Gudrun Meier #Virginal #MartinusVanDerBiest #ColinTilney
Sedgwick Weber Gibson Siegel Edwards Pearson Greene Shepard Brownlow Gill Hugo Riesenfeld Jentsch 1925 1929
(1929 reissue with reconstructed sychronized soundtrack) A Universal Picture. "The Phantom of the Opera" (1925) A Universal super-production. Directed by Rupert Julian, Edward Sedgwick, Lois Weber and Lon Chaney. (Ernst Laemmle directed new talking sequences, now lost, for the 1929 reissue). Cast: LON CHANEY (The Phantom), Mary Philbin (Christine) Norman Kerry (Vicomte Raoul de Chagny), Arthur Edmund Carewe (Ledoux), Gibson Gowland (Joseph Buquet), Bernard Siegel (Simon Buquet), Snitz Edwards (Florine Papillon), John Saint Polis (Comte Philippe de Chagny), Mary Fabien (Carlotta, 1929 reissue), Virginia Pearson (Carlotta, Carlotta´s mother, 1929 reissue) The Bal Masque scene is the only one Technicolor sequence (red/green negatives) that survive now (maybe photographed by W. Howard Greene) of the several color scenes of the film (lost forever and survived in B/W) this proceed from 1929 talking & sound reissue. Preserved by the film restorer David H. Shepard. Lab work by YCM, Cinetech & Cinema Arts Inc. The Opera roof sequence is in Handschiegl process color (color artificially added to selected areas of the B/W film image with Aniline dyes), reconstructed by color computer colorization, made by CST Entertainment Inc. Restoration produced by Kevin Brownlow, David Gill & Patrick Stanbury. Synchronized soundtrack (in Vitaphone discs, recorded in film by Photophone) by Hugo Riesenfeld, David Broekman Joseph Cherniavsky, Arthur Jentsch, William Schiller for the 1929 sound reissue. All discs survive. I AM NOT THE OWNER OF THE COPYRIGHT FOR THIS FILM. THE DIFUSION OF THIS PICTURE IS ONLY FOR ENTERTAINMENT PURPOSES.
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