*_Ton Koopman schrieb für die Spielplatte übersetzt von Janelle Ewals aus dem Niederländischen 1/1_* Das »Fitzwilliam Virginal Book« stammt von Francis Tregian, dem ältesten Sohn einer angesehenen katholischen Familie, der es in den Jahren seiner Haft 1609-1619 im Londoner Fleet-Gefängnis zusammenstellte. Damit er sich die Zeit vertreiben konnte, brachten ihm Freunde Kompositionen, die er kopierte. So entstanden umfangreiche Sammlungen, von denen das Fitzwilliam Virginal Book die bekannteste ist. Dieses umfangreiche Kompendium beinhaltet Klaviermusik aus der zweiten Hälfte des 16. bis Beginn des 17. Jahrhunderts und erlangte im 18. Jahrhundert Bekanntheit als »Queen Elizabeth's Virginal Book«. Es wurde durch Richard Fitzwilliam, dem siebten Viscount Fitzwilliam of Meryon erworben und der Universität von Cambridge zum Geschenk gemacht, in deren Besitz es sich noch heute befindet. Das Manuskript umfaßt 209 Kompositionen von durchweg hohem Niveau. Es sind darin u .a. Byrd, Sweelinck, Tomkins, Philips, Bull, Tallis, Picchi und Farnaby vertreten. Im !8. Jahrhundert befand sich das Buch im Besitz von Johann Christoph Pepusch, dessen Frall die Werke des Fitzwilliam Virginal Book als techflisch sehr viel schwieriger beurteilte als die komplizierteste Scarlatti-Sonate. J .A. Fuller Maitland trug gegen Ende des 19. Jahrhunderts Cembalostücke vor, unter· denen sich auch solche aus der Fitzwilliam-Sammlung befanden. Er hatte zu diesem Zweck das ganze Manuskript abgeschrieben. Ein Musikverlag fand sich bereit, das Manuskript zu publizieren. Schon bei ihrer Erstveröffentlichung 1899 stieß die Ausgabe auf heftige Kritik. Deutsche Musikwissenschaftler hielten es für unverantwortlich, »dummen« Musikern eine Edition ohne kritischen Kommentar auszuhändigen. Erst nach genauem Vergleich aller Quellen eines Stückes kann eine kritische Edition entstehen: die moderne textkritische Ausgabe mit einem detaillierten wissenschaftlichen Kommentar. Die heutigen modernen wissenschaftlichen Ausgaben haben jedoch leider bewiesen, daß das Erstellen eines »definitiven« Textes oft allein aus einer Zusammenstellung der letzten Stellen eines Manuskripts besteht, wodurch eine Ausgabe zustande kommt, die stark vom ursprünglichen Text abweicht. Es ist daher ratsam, beim Spielen einer einzigen Handschrift zu folgen, eventuelle Fehler zu korrigieren (nicht zu verbessern) und zu akzeptieren, daß so ein Notentext der historische Ursprung eines Werkes war. Ein und dasselbe Werk, aus verschiedenen Quellen ediert, trägt nicht selten unterschiedliche Züge. Aus diesem Grunde ist es nicht immer einfach, eine Entscheidung für ein bestimmtes Manuskript zutreffen. ZUR INSTRUMENTENFRAGE Virginal ist der allgemeine Sammelname für Tasteninstrumente. Die zweideutige Ableitung von lat. virgo = Jungfrau und lat. virga = Stab, Docke (Kiel des Cembalos) gab den Anlaß zu blühenden Begriffsverwirrungen. Letztendlich muß jedoch virgo die etymologisch einzig richtige Antwort sein. Auch im Titel der ersten gedruckten englischen Sammlung wird dieser Ausdruck verwendet. Schließlich spielten damals viele Damen (darunter auch Königin Elizabeth) gerne auf dem» 'Virginal' Heutzutage ist für uns das Virginal eng mit einem flämischen Instrument verbunden. Das gilt jedoch für die englische Musik von ca. 1600 als sehr unwahrscheinlich . Obwohl bekannt ist, daß es flämische (oder sogenannte Ruckers-Instrumente) in England gab, war das italienische Cembalo so weit verbreitet, daß dieses Instrument meistens bei Virginalmusik zum Einsatz kam. Von der Geschichte der englischen Virginal-Musik und des englischen Cembalos gegen 1600 ist so wenig bekannt; daß es sich erübrigt, näher darauf einzugehen. Bleibt das schwierig zu lösende Problem der Verzierungstechniken für diese Musik. Vor 1600 gibt es dafür in England keinerlei Anhaltspunkte. Aus den allgemein in Europa gepflogenen Traditionen und aus den ausgeschriebenen Trillern in den diversen Handschriften muß man sich ein ungefähres Bild machen. Im Fall von William Byrd verfügen wir bei einigen Stücken über deutlich voneinander abweichende Quellen, zwischen deren Entstehung in einigen Fällen mehr als ein halbes Jahrhundert liegt. Es wurden Abschriften von Abschriften angefertigt, und'Wer selbst schon Noten kopiert hat, weiß, wie schnell sich ein Fehler einschleichen kann, wie leicht man etwa einen Takt unterschlägt. Es darf jedoch nicht vergessen werden, daß spätere Abschriften oft »modernisieren». Im Zweifelsfalle sollte man äußerst gewissenhaft einer Quelle folgen, sofern das möglich ist. Mit Ausnahme der Walsingham-Variationen habe ich mich bei dieser Aufnahme an den Notentext des Fitzwilliam Virginal Book gehalten und wo nötig unter Heranziehung von Mikrofilmen Korrekturen angebracht. Die Walsingham-Variationen habe ich -aus persönlicher Vorliebe aus der früheren Version des »My Ladye Nevells Booke« gespielt. Byrd ist mit 71 Kompositionen im »Fitzwilliam Virginal Book« vertreten. Das »My Ladye Nevells Booke« (1591), das ausschließlich aus ByrdKompositionen besteht, umfaßt 42 Stücke. Bis jetzt sind 130-140 Klavierwerke von Byrd bekannt. Daß sie so oft in bedeutenden Handschriften erscheinen, ist ein Beweis für die Beliebtheit seiner Klaviermusik. Ton Koopman Aus dem Niederländischen von Janelle Ewals
@EttorealbertoGelli-vr6sz
7 ай бұрын
La traduzione in italiano fa completamente schifo. Complimenti
@jsb7975
10 ай бұрын
When it comes to renaissance and early baroque harpsichord music, *KOOPMAN* is the greatest of them all !!
@HaritheRenaissanceMan
7 ай бұрын
William Byrd was truly a master composer. The first Fantasia truly lives up to its name - it almost sounds like an improvisation that Byrd later wrote down - exciting, daring and adventurous. The Bells is a tour de force of tone painting. I can imagine Mr. Byrd sitting at an organ bench inside church, or perhaps sitting outside, pondering the meaning of life, hearing the church bells tolling, and thinking to himself - whoa, I can compose something from this! And of course, Ton Koopman is a master interpreter of this often misunderstood period of music, making it all come alive with vitality and freshness.
@paulcaswell2813
5 жыл бұрын
Utterly gorgeous!!! And it's nice to hear this repertory played on an Italian instrument, rather than the ubiquitous Flemish... The 'Tregian' Pavan I've never heard played slower - and what gravitas it gives. Glorious stuff. Once again - many thanks for the posting!
@edwardweaver1467
4 жыл бұрын
What do you mean by "gravatis"?
@Piflaser
3 жыл бұрын
@@edwardweaver1467 Comin from latin it means weighty, here probably meaning.
@PETROSkbls
5 жыл бұрын
Absolutely delightful!!
@victorheredia7185
3 жыл бұрын
Muy hermoso grande Byrd!
@vascoresende7088
5 жыл бұрын
Once more, thank you very much for this upload, you've made my day! I have the album Koopman recorded with a selection of virginal music from the Fitzwilliam book, and I didn't know he had also released an LP with music exclusively by William Byrd. Wonders never cease.
@paulcaswell2813
5 жыл бұрын
The instrument isn't mentioned in the Fitzwilliam recording - but the Byrd here is most definitely the same instrument!
@vascoresende7088
5 жыл бұрын
In fact I consulted the leaflet accompanying the Capriccio CD and you're absolutely right, it's the same instrument.
@lorenzofeder3161
5 жыл бұрын
Instrument: Willem Kroesbergen after Bartolomeo Stefanini 1694.
@paulcaswell2813
5 жыл бұрын
Thanks for the confirmation!
@lorenzofeder3161
5 жыл бұрын
@@vascoresende7088 In the Fitzwilliam Cd there's also another instrument: a Ruckers copy (8'+4') made by Willem Kroesbergen used in the Peter Philips pieces
@excelsior999
Жыл бұрын
Listening to Ton Koopman playing William Byrd on a harpsichord, one might (almost) ask oneself, even for a fleeting second, "Did the world really need a Pianoforte?"
@weiliu3623
11 ай бұрын
No! But for the commoners, yes.
@HarpsichordVinylGallery
5 жыл бұрын
*_Ton Koopman wrote for the liner notes translated in English from the Dutch by lan F. Finlay 1/1_* The "Fitzwilliam Virginal Book" was compiled in the Fleet Prison in London between 1609 and 1619 by Francis Tregian, the eldest son of a respectable English Catholic family. Friends provided him with compositions in order to kill time, and these were copied by Tregian. This activity resulted in comprehensive collections, the best known of which is the "Fitzwilliam Virginal Book." This extensive manuscript with keyboard music from the second half of the sixteenth and beginning of the seventeenth century was known as "Queen Elizabeth's Virginal Book" in the eighteenth century. It was acquired by Richard Fitzwilliam, seventh Viscount Fitzwilliam of Meryon, and presented to the University of Cambridge, where it remains to this day. The manuscript contains 209 compositions, most of which are of a very high level. Composers such as Byrd, Sweelinck, Tomkins, Philips, Bull, Tallis, Picchi, and Farnaby are represented. During the eighteenth century the manuscript was in the possession of Johann Christoph Pepusch, whose wife apparently considered the works in the "Fitzwilliam Virgjnal Book" to be technically very much more difficult than the most complicated Scarlatti sonata. In the middle of the nineteenth century the harpsichordist J. A. Fuller Maitland included music from this manuscript in his recitals. He had copied the complete manuscript in order to play from it, and a publisher was willing to publish it. The.'edition was subjected to major criticism from its first publication in 1899. German musicologists considered it irresponsible to provide "ignorant" players with a manuscript lacking a critical commentary. In their view a critical edition of a work could not be compiled until all sources of that work had been compared, resulting in a modern, critical edition with an extensive, scientific commentary. Present-day musicological editions have, however, proved to a distressing extent that the preparation of a "definitive" text is frequently tantamount to a compilation of the best bars from different manuscripts, the result being an edition which no longer resembles the original text. Consequently, it is better to follow one manuscript and play from that, correcting the possible errors, but not introducing improvements, and accepting that such a text represented one of the historical versions of a work. When there are different sources of one and the same work, it is not always easy by any means to make a choice, but it is preferable to select one manuscript rather than produce an edition incorporating the best elements from several. ON THE INSTRUMENTS As'far as the instrument is concerned, virginal is the collective term for keyboard instruments. The derivation from virgo (maiden) and virga (rod, or jack of a harpsichord) has given rise to picturesque discussions. The word virgo seems to be the correct derivation. It also occurs in the title of the first printed English collection of harpsichord music, "Parthenia." Certainly many ladies (including Queen Elizabeth I) derived great pleasure from playing the "virginal. " The word virginal is closely connected with the Flemish form of the instrument. However, it is very unlikely that English music from about 1600 was played on this instrument. Although we know that there were Flemish (Ruckers) instruments in England, the Italian harpsichord was so common that virginal music was usually played on that instrument . But the history of the English virginal and English harpsichord around 1600 is so obscure - added to which is the fact that hardly anything has survived - that it is impossible to arrive at a firm conclusion. There is one further problem, namely the interpretation of ornaments in this music. Nothing is known about this in England before about 1600. Their probable meaning can be gathered from the general European tradition and from the trills written out in the various manuscripts. In the case of William Byrd, there are a number of very different sources for some pieces, which were written half a century or more apart. The copies were certainly made from other copies, and those who have themselves occasionally copied music know how easily mistakes occur and how easy it is to forget a bar. These things are simply solved when comparing several manuscripts. We should not forget, however, that later copies frequently "update" the music. In cases of doubt it is sensible to follow one source very precisely if this is possible. Apart from the "Walsingham" Variations, I have followed the "Fitzwilliam Virginal Book" for this recording, using microfilm and making corrections when they seemed necessary. I have played the "Walsingham" Variations, through personal preference, in the earlier version of "My Ladye Nevells Booke." Byrd is represented by 71 pieces in the "Fitzwilliam Virginal Book." There are 42 pieces in "My Ladye Nevells Booke" (1591), which consists exclusively of music by Byrd. Between 130 and 140 keyboard works by Byrd are now known. The number which have reached us in the most important manuscripts indicate how popular the keyboard music of this composer was. Ton Koopmall Translated from the Dutch by lan F. Finlay
@CarmenReyes-em9np
Жыл бұрын
Muchas gracias 😅
@tulliettoaffernik6999
5 жыл бұрын
how wonderful!!!!! 💜🧡 TY!!!!
@HarpsichordVinylGallery
5 жыл бұрын
Sometimes you buy a second hand recording, that is already in your collection but you were not quite sure. Now I am systematically cataloguing my collection and yesterday I found out that this vinyl was 4 times in my collection! No wonder it was always easy to find (on four different locations) in the complete chaos of recordings ;-) Still a fine recording indeed.
@mattstapleton9584
3 жыл бұрын
So classy
@mattstapleton9584
3 жыл бұрын
And stunning
@CarmenReyes-em9np
Жыл бұрын
Todo nuevo para.mi 🎼🎶. ❓❓❓❓❓🎹😂 🖐️.
@user-oz7px6bk8y
2 жыл бұрын
37:27
@HarpsichordVinylGallery
2 жыл бұрын
Thanks, I have included the beginning of the Galiarde in the description.
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