this is still my favorite video on youtube. thanks again, i love this recording.
@gspaulsson
13 жыл бұрын
Actually, "irregular" time-signatures were quite common in renaissance music, cf. the 16th c. Spanish carol "Riu riu chiu" in 5/4 time
@MegumiJones
9 жыл бұрын
Fabulous playing of a very rousing piece. I thought the runs in paired 3rd and 6ths were magnificently executed, especially.
@MMSteer
11 жыл бұрын
The only answer must be that there is no only answer! I thought long & hard about this & experimented with what Bull appears to mean, namely that it should be played as a kind of rubato (8:9) - but the metronomically righter I made it the wronger it sounded! Given the other complexities in this section, for the purposes of live performance (which this was) I didnt want to risk boloxing it & so nailed the rhythm rather than let it float.
@reinpost
3 жыл бұрын
I agree, I also tend to apply some delay to the last 2 of the 11 crotchets, and generally, it makes sense to be quite liberal with tempo and grant breathing spaces throughout the piece. (Not that I can play it as faultlessly as you do here.)
@MMSteer
3 жыл бұрын
Any convincing interpretation is right! Bull was working at the limits of how to get his imagination down in paper. So he could have meant anything that you can put across effectively. I would love to hear a pianist tackle this piece.
@lacolombe2534
7 жыл бұрын
JOHN BULL { Né peut-être à RADNORSHIRE 1562/63~1628 ANVERS }. " IN NOMINE { 11/4 } " . Une merveille cette pièce, interprétation au clavier grandiose de MICHAEL MAXWELL STERR bravo. JOHN BULL, grand compositeur anglo-flamand, également musicien et facteur d'orgue. Renommé au clavier la majeure partie de ses compositions ont été écrites pour les instruments à claviers { orgue, clavecin, Virginal }. En 1573, il devient membre du chur de la cathédrale D'HEREFORD et l'année suivante chante avec les CHILDREN OF THE CHAPELLE ROYAL de Londres, ou il étudie avec WILLIAM BLITHEMAN et WILLIAM HUNNIS, il apprend à jouer de l'orgue à cette même époque. BULL était l'un des plus célèbres compositeurs pour instruments à clavier du début du XVIIe siècle, seulement surpassé par SWEELINCK aux Pays-Bas et FRESCOBALDI en Italie. La plupart de sa musique fut perdue lors de sa fuite hors d'Angleterre une partie fut détruite et certaines oeuvres furent volées par d'autres compositeurs . Un des recueils les plus originaux de cette période est un livre contenant cent- vingt canons destinés à l'orgue un étonnant étalage de virtuosité contrapuntique digne de OCKEGHEM ou BACH. Cent-seize de ces cent-vingt canon sont basés sur le Miséréré. Au cours des années 1620, il poursuivit sa carrière comme organiste et facteur d'orgue. Il mourut à ANVERS 1628. Merci pour ce chef-d'œuvre au clavier de JOHN BULL qui est éternel sublime.
@DrKristinaRizzotto
8 жыл бұрын
Beautifully played! Thanks for posting.
@bastardtubeuser
13 жыл бұрын
i honestly cant believe how much variation and art is in this piece of music, ive been listening to your recording of this for weeks now.
@aleksanderkarlicpresentsth2420
8 жыл бұрын
Fantastic! However, Juan del Enzina used once or twice a 5/4 rhythm.... so far as the renaissance mensural notation is concerned. Earlier in the middle ages it seems that it was far more common practice that generally thought ....
@BlackHeartDarkSoul
12 жыл бұрын
@DangerousFacts48
14 жыл бұрын
I think you'll find Glinka and Tchaikovsky were doing unequal bars long before Stravinsky, hence Stravinsky and others were able to develop them, because they were part of their musical heritage!
@RalphLooij
3 жыл бұрын
Very well played, Bull is quality.
@mercoid
14 жыл бұрын
Beautiful job Max. I have a recording of this piece played by Pierre Hantai. I have listened to it dozens of times w/ great fascination. Thank you for providing additional insight into the music, and for putting out there for more people to enjoy.
@Tizohip
4 жыл бұрын
'-'
@mrdavethecomposer
12 жыл бұрын
Such flowing style....
@BethDiane
8 жыл бұрын
A ficta free-for-all.
@DangerousFacts48
14 жыл бұрын
@maxwellsteer Ah: here's our problem. We're both confusing a) regular but asymmetrical metres (e.g. extended passages of 5/4) with b) irregular metres (passages where the metre changes every bar or so). Glinka did the former in choruses from either Life for the Tsar or Ruslan (can't remember which), and Tchaik, as you say, in the Pathetique, whereas Mussorgsky did both in the Promenades from Pictures at an Exhibition and choruses in Boris and possibly the Stone Guest, if I remember correctly.
@MMSteer
15 жыл бұрын
My wide experience of early english keyboard music convinces me that the continental baroque convention of starting ornaments on the upper note does not apply. In at least half the cases of the dozens of ornaments in any given piece of english music it simply doesnt suit the character of the music and in an even greater proportion theyre actually unplayable.
@gspaulsson
13 жыл бұрын
@MagicDolphinGO It means "in the name of" (usually in nomine Domini = in the name of the Lord)
@MMSteer
14 жыл бұрын
@flibbertergibbet Well now, the issue would concern the word irregular. I dont know the piece/s of Glinka you're refering to, but is there anything other than the 5/4 movt in Pathetique in Tchaik? As far as Im aware even that movt isnt, strictly, 'irregular' bars since the metre remains constant. You could argue that that is also true of the In Nomine since the metric pattern is consistent, yet its notation as 4/4+4/4+3/4 validates my statement, unless you can Glinka me to the contrary!
@MMSteer
13 жыл бұрын
You will find an entry on it in Wikipedia. It wont let me copy the link.
@gadsy
13 жыл бұрын
Busco una partitura del "Autorretrato de John Bull". Si alguien me la puede pasar...
@MMSteer
14 жыл бұрын
@flibbertergibbet If you really want to be pedantic, it wasnt 'long' before Stravinsky, it was merely a generation - and I would incline to doubt that they had much influence on S, whose lifelong ability was to distil musical ideas AHEAD of the pack, not as a response to the experimentation of others. The issue here is that Bull's rhythmic experimentation was as sui generis AS Stravinsky's or as Gesualdo's tonal experimentation.
@KcDaugirdas
4 жыл бұрын
Working on this piece now. So many questions about accidentals! How do you decide? For example, at 2:08, how did you decide to play G-nat?
@CherubimMusicTrust
4 жыл бұрын
Interesting question to which I don’t have a rational answer. I assume you’re refering to the alto part in the first bar of that line? It just sounded better to me than a G# at this point, which would've made a lydian chord that they didn’t seem to use much as a harmony. You have to remember that the ms was copied by someone who probably wasnt an expert musician and therefore didn’t 'hear' what he was copying and so may have unwittingly magnified existing errors in transcription. I recently heard Thomas Tallis Loquebantur variis linguis for 7 voices and was struck by the flip-flopping between major and minor thirds in a sacred piece, which was a regular feature of the english style, notably in 'english cadence' which persisted till Purcell. So, as the man in the fairground said, you pays yer money and you takes yer choice. Bearing in mind that this piece should undoubtedly be in a species of Pythagorean tuning, which was not possible in the concert where this was recorded as it involved 20thC music.
@KcDaugirdas
4 жыл бұрын
@@CherubimMusicTrust I looked up 3 versions of this piece on KZitem, and they all differ in their choices of accidentals :) I was referring to the alto, yes, where you have a natural sign handwritten in the score. G# marked at the beginning of the bar, so I was curious.
@CherubimMusicTrust
4 жыл бұрын
@@KcDaugirdas Are you familiar with the term musica ficta? It refers to the fact that in the early medieval period scores were often written without accidentals (# b) and it appears to have been up to the singer as to what they did. Im sure a lot of that persisted. Any interpretation is probably legitimate; but really the ear is the final judge of harmonic credibility.
@KcDaugirdas
4 жыл бұрын
@@CherubimMusicTrust Well that's kinda fun... thanks for officially sanctioning my artistic license :)
@reinpost
3 жыл бұрын
@@CherubimMusicTrust You mean renaissance ... and yes it still applies to this piece, which is from around 1600.
@MMSteer
13 жыл бұрын
I dont subscribe to other channels, simply because I already have enought to keep up with. But please write, you will easily find me on the web.
@gspaulsson
13 жыл бұрын
listening to riu riu chiu again, it's weirder than that. It's basically in cut time, but the refrain is in 2/2 -3/4- 5/4 - 3/2 if I catch it correctly. Also a lot of folk music is in odd time signatures like 7/8 - some of the Romanian and Hungarian folk songs that Bartok and Kodaly collected, but also some Appalachian fiddle music.
@reinpost
3 жыл бұрын
If you listen to recordings of Western European folk songs (especially when made before 1960 and performed by elderly people) you'll notice many of them don't use fixed time signatures.
@maxwellspupils
13 жыл бұрын
@JohnDowl I should be interested to know more. Im already in your debt for introducing me to Schmelzer's music & particularly his Sonata 'on the day of the fart' - about which, as yet, I have not been able to find more. I should be interested if you could give clear references for the other pieces.
@comprehensiveboy
13 жыл бұрын
Please listen to Mike Oldfileds 'Ommadawn' and tell me if you think it sounds relalted in some way.
@TheFlairRick
3 жыл бұрын
Any chance you can do "The Hunt's Upp II" (#41 in MB volume) attributed to William Byrd? The Hunt's upp II has never been recorded or performed and put on youtube?
@MMSteer
3 жыл бұрын
Actually, I have. kzitem.info/news/bejne/sKKA3WyckaOknaQ
@TheFlairRick
3 жыл бұрын
@@MMSteer This piece in the video in question is The Hunt's Upp I (#40 in MB Volume). I'm referring to The Hunt's Upp II (#41 in the MB volume). Still a great piece though.
@ocktube
15 жыл бұрын
Excellent piece! Technically rather demanding, but generally well done! Although I'd prefer the trills a bit more pronounced and starting on the upper note where appropriate. Excellent choice of music, this piece is played far too litlle.
@DangerousFacts48
14 жыл бұрын
@maxwellsteer I'd like to point out the difference between pedantry and ACCURACY: with greatest respect, what you actually wrote is "Nobody before Stravinsky ever experimented with irregular bars". Not true!
@MagicDolphinGO
13 жыл бұрын
What does in nomine mean?
@granvilles.wright4240
4 жыл бұрын
In Nominee means, 'In The Name Of Our Lord'. Mr. Granville S. Wright, Church Musician. God Bless.
@TempodiPiano
2 жыл бұрын
I don't get it. is it supposed to be beautiful?
@MMSteer
2 жыл бұрын
That question would have seemed strange to Bull. I doubt that ideas of (what we would now consider) beauty would have entered his head. I imagine he saw himself as a musical explorer or inventor, restlessly exploring new intellectual horizons. Ideas were his medium, not aesthetics.
Пікірлер: 45