3 organ hymns by Girolamo Cavazzoni performed by Dale Carr in Badia Fiorentina in Firenze @dalecarr6361

Dale Carr | 3 organ hymns by Girolamo Cavazzoni performed by Dale Carr in Badia Fiorentina in Firenze @dalecarr6361 | Uploaded June 2021 | Updated October 2024, 1 hour ago.
3 organ hymns by Girolamo Cavazzoni {~1525 - after 1577}
- Hymnus in die Penthecostes, Veni creator spiritus
- Hymnus Ave maris stella {2'23"}
- Hymnus in festo unius martyris, Deus tuorum militum {5'20"}
performed by Dale Carr on the organ {1558} in Badia Fiorentina in Firenze on 21 June, 1989

The 3 hymn settings were published in the 1540s - the exact dates are not entirely clear - when Cavazzoni was still a young man. Each of the hymns has 4 lines; in the 1st 2 hymns, the cantus firmus is treated with informal imitative introductions to each line, while the 3rd hymn has imitation only at the beginning, continuing with a flowing free 4-part polyphonic accompaniment.

The organ of Badia Fiorentina deserves some comment. It was built in 1558 by Onofrio Zeffirini and restored in 1979-1981 by Pier Paolo Donati. The single keyboard begins at F below 8' C and goes to c''', without the lowest F# and G#. The trebles of the Principale & Ottava are doubled, i.e. the stops have 2 pipes for each key. {This can be heard clearly at the opening of Ave maris stella.} There are 20 pedal keys permanently attached to the manual keys by what appear to be shoe-strings. It has the following registers:
12' Principale
6' Ottava
3' XV
XIX
XXII-XXVI-XXIX
3' Flauto in XV

A different performance of Cavazzoni's 'Ave maris stella' on a different organ @ youtube.com/watch?v=__QS9TIMCPU

Another organ in Firenze @
- youtube.com/watch?v=FxSZRo4pBeI &
- youtube.com/watch?v=E7rQRLLofik

Piece de trois sortes de mouuemens Par Mr. Couperin, performed by Dale Carr on 7 October 1989

Wer nur den lieben Gott läßt walten BWV 690, by Johann Sebastian Bach

Capriccio chromatico con ligature al contrario by Frescobaldi performed by Dale Carr

Courante in d minor by Louis Couperin performed by Dale Carr on a harpsichord by Hendrik Broekman

$Walsingham variations by William Byrd, performed by Dale Carr on a harpsichord by Hendrik Broekman, Walsingham variations for harpsichord by William Byrd, performed by Dale Carr in a concert on 5 February, 1995 on a harpsichord made in 1975 by Hendrik Broekman, based on an instrument by Michel Richard, 1688 There are 2 major sources for this work, the Fitzwilliam Virginal Book & My Ladye Nevells Booke. Neither source is free of errors, despite the fact that the copying of latter was supervised by Byrd himself; comparison of the two coupled with good musical sense makes doubtful passages clear. The theme itself offers a wonderful ambiguity of harmony, oscillating {or vacillating?} freely between B𝄬 & g-minor but always ending each variation solidly in G-major. Despite this inherently rich harmonic palette, Byrd manages to make some especially surprising harmonic progressions, e.g. in variation 11 {https://youtu.be/ll1Wb_IBQbk?t=232} & most wonderfully in variation19 {https://youtu.be/ll1Wb_IBQbk?t=436}. Byrd’s use of counter-subjects is characteristically brilliant, in particular his placing them in different parts of the measure and his varying/developing them in the course of the work. A good example is the left-hand motive at the start of the 2nd variation {https://youtu.be/ll1Wb_IBQbk?t=38}. {This motive is a variant of the r.-h. motive in m.5.} The 1st, 3rd, 5th, & 6th appearances begin on the 1st beat, the 2nd & 4th begin on the 2nd beat, the 7th begins on the 3rd beat, overlapping with the 8th appearance beginning again on the 1st beat. This motive appears in the 3rd, 4th, & 5th variations as well. Another example is the l.-h. motive at the start of variation 10 {https://youtu.be/ll1Wb_IBQbk?t=191}, which appears after the 1st beat, before the 3rd beat, before the 2nd beat, &c. The 2nd ½ of this variation {https://youtu.be/ll1Wb_IBQbk?t=200} has a new syncopated motive {or is it another variant?} appearing after the 1st beat, after the 3rd beat, after the 2nd beat, and before the 1st beat {extended}, then suggested after the 3rd beat before being stated again in extended form after the 1st beat in the top voice. This final measure of variation 10 is also an example of Byrd’s way of filling up the whole of a final measure even when there’s only a single harmony in the tune. Another of Byrd’s trademarks, used in several variation works, is the addition of an extra top voice, as in variation 13, 2nd measure {https://youtu.be/ll1Wb_IBQbk?t=273} and again in variation 22 {https://youtu.be/ll1Wb_IBQbk?t=484}. I could write much more about the wonders of this piece, but it surely has no need of my recommendation!$

Bergamasca by Girolamo Frescobaldi, performed by Klaas Veltman in Oosthuizen {NH} on August 2, 1995

$Sonata in b minor, op.58, by Chopin {2nd movement}, performed by Charles Farmer, on 2 February, 1965 Sonata in b minor, opus 58, by Chopin {2nd movement}, performed by Charles Farmer, piano, on 2 February, 1965, in Hertz Hall, University of California, Berkeley. Charles Farmer was a friend of mine in Berkeley in the 1960s. This performance was given in the series of noon concerts in the Music Departments Hertz Hall. Another friend of mine recently sent me a 7 reel-to-reel tape of the concert, and I had it digitized, then corrected the rather too heavy bass tones. Im no sound engineer, so I can only hope that the sound of this version of the performance will be found satisfactory. Here I have uploaded the 2nd movement; the rest will follow in due course. Charles died in 2019 in Portland OR. An obituary can be found @ https://www.reed.edu/reed-magazine/in-memoriam/obituaries/2020/charles-farmer.html I do not know whether he had any survivors who might have a reason to object to the publishing of this recording; anybody with objections is invited to contact me. The 1st movement is here: https://youtu.be/0g_ofLXTL2c$

Hinno Aue maris stella by Girolamo Frescobaldi performed by Dale Carr in Pilsum on 5 May, 2007

Kyrie bwv672 - Christe bwv673 - Kyrie bwv674 ; from Clavierübung, dritter Theyl by J.S. Bach

Kyrie/Christe/Kyrie from Cavazzonis Missa Dominicalis performed by Dale Carr on 28 June, 1989

Toccata di durezze, e Ligature by Girolamo Frescobaldi, from Secondo Libro di Toccate