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@dalecarr6361

Dale Carr | Clarifica me pater : 3 settings by William Byrd performed by Dale Carr @dalecarr6361 | Uploaded November 2020 | Updated October 2024, 3 hours ago.
Clarifica me pater : 3 settings by William Byrd performed by Dale Carr on the triforium organ in the cathedral in Metz on 4 July, 1993. {Organ by Jehan de Trèves, 1536, & Marc Garnier, 1981}
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These 3 separate settings make an excellent group despite the fact that the earliest sources don't preserve them together, or even with their correct titles. At the probable time of their composition they would have had no liturgical function, making them what we like to call "pure music".

The 1st setting is in 2 voices with the c.f. in the lowest voice. In the 1st half, the cantus firmus is broken up in a manner found more frequently in the works of a generation earlier. In the 2nd half the c.f. is placed an 8ve higher and the upper voice is in triple meter.

The 2nd setting is in 3 voices with the c.f. in the highest voice; triple meter and syncopations characterize the 2nd half.

The 3rd setting is in 4 voices with the c.f. in the alto voice. The accompanying voices provide a smooth succession of subjects in imitation.

The fotos accompanying the recording give an idea of the appearance of 16th-century English organs; this instrument, in Old Radnor, Wales, is thought to date from ~1540. It was reconstructed in 1872; none of the original pipework remains. The details of the carving deserve just as close inspection as do the details of Byrd's counterpoint.

Clarifica me pater : 3 settings by William Byrd performed by Dale Carr

Resurrexi, introit for Easter Sunday, verse 1, by Thomas Preston; performed by Dale Carr

$Fantasia in d minor, by Sweelinck, played by Dale Carr in Örgryte nya Kyrkan on 13 December, 2000 Fantasia in d minor, SwWV 261, by Jan Pieterszoon Sweelinck, played by Dale Carr on the organ in Örgryte nya Kyrkan {Göteborg} on 13 December, 2000 Here I have published only the 1st § of this wonderful piece, about a third of the whole. The performance took place rather by chance: I had an opportunity to play the organ & had my SONY walkman with me. The registration was based on the marvellous 16 Trommet with a couple of other stops added for color & clarity. The work is often called an echo fantasy, because of the many echo passages in the 2nd §. The 1st §, however, is composed primarily of canons, which I have listed below. The piece begins with 3 voices; a 4th voice is added from m.29. m.1-4, sop & bass, 5th below, {by inversion}, after 1 whole note, till m.4 m.4-19, sop & alt, 8ve below, after 1 whole note, till m.19 m.22-25, sop & alt, 8ve below, after 1 whole note, till m.25 m.28-34, sop & bass, 12th below, after 1 whole note, till m.34 m.50- sop & bass, 15th above, after 1 halfnote, dissolving into shorter imitations m.61-65, sop & ten, 8ve above, after 1 halfnote, till m.65 m.65-70, alt & ten, 8ve above, after 1 halfnote, till m.70 m.70-79, sop & ten, 8ve below, after 1 halfnote, till m.79 The organ in Örgryte nya Kyrkan was built as part of a research project at GOArt, University of Gothenburg, and was dedicated on August 12, 2000. The goal of the project was to recreate the construction techniques and design philosophies of the 17th-century German organ builder Arp Schnitger. Though the instrument was built in the style of this single builder, it was not modeled after a single instrument. No single model could be used since no large Schnitger organ has been preserved in its original condition. The construction of the organ was carried out by an international team of organ builders. Henk van Eeken was responsible for the design and the technical drawings, Munetaka Yokota for the pipework, and Mats Arvidsson oversaw the building process. The instrument contains almost 4000 pipes and is the largest existing organ tuned in quarter-comma meantone temperament. {info from https://en.wikipedia.org/wiki/North_German_baroque_organ_in_%C3%96rgryte_Nya_Kyrka} Other recordings of this organ: - https://youtu.be/dqd38lRuSbw {Bach: Fuga sopra Magnificat, BWV733} - https://youtu.be/ZqfTqX6qGlg {Sweelinck: Fantasia mit Bindungen in F}$

Te deum, by John Blitheman, performed by Dale Carr on the Schnitger organ {1695} in Nieuw Scheemda

Contrapunctus 2 from Die Kunst der Fuge by J.S. Bach, performed by Dale Carr on 5 February, 1995

Suite no. 7 in d by Henry Purcell, Z.668, performed by Dale Carr on 7 October 1989

Suite in F major : Allemande grave, by Louis Couperin performed by Dale Carr on 25 April, 1987

$Suite in F major : Sarabande, by Louis Couperin, performed by Dale Carr on 25 April, 1987 Suite in F major : Sarabande, by Louis Couperin {~1626-1661}, performed by Dale Carr in the church in Middelbert {Groningen} on 25 April, 1987 on a harpsichord made by Hendrik Broekman in 1975 The Bauyn MS. contains three choices for the sarabande of the F-major suite; the general opinion is that the player may choose which and how many of each dance type to play, and that the allemande, courante, sarabande, & chaconne or passacaglia are generally included, though other types may well be omitted. One aspect of this sarabande that I find especially intriguing is its metric & rhythmic subtlety. As with the preceding courante, the triple meter allows a great variety of subdivisions of the measure. The time signature here is given as 3, not 3/4 or 3/2; this may seem imprecise, but it avoids forcing an ungraceful oom-pa-pa 3-ness. The 1st measure turns out to be actually a ½-measure anacrucis {upbeat} to a series of measures that we would now write as 3/2 or 6/4 - in any case, many of the measures contain 6 𝅘𝅥, although the MS is not entirely consistent {whether on purpose or not} in its bar lengths. Although upbeats tend to be but a fraction of the main note-value, music history has many instances of such a ½-measure upbeat, of which I’ll mention only a small number: - the beginning of the courante of Bachs 2nd French suite in c-minor, which is mostly in clear 3-beat bars; - the closing chorus of Bachs motet Komm, Jesu, komm, BWV229 {Drauf schließ’ ich mich …}, in which the measures are clearly & consistently paired in upbeat-measures & downbeat-measures; - many passages in Bachs organ prelude in G, BWV541, with the repeated rhythm 𝅘𝅥𝅮𝅘𝅥𝅮𝅘𝅥𝅮|𝅘𝅥𝄾 ; here the downbeat 𝅘𝅥 is often a dissonance resolved on the 2nd beat. An aspect of the over-all form that is worthy of mention is the matter of repetitions. The general ‘rule’ is that dances are in ‘binary form’ with an interior cadence on the dominant or another closely related key, and that each of the 2 §s is marked with repeat signs {which may or may not be obligatory}. The 1st ½ of this sarabande ends with a repeat sign {https://youtu.be/ZXO89bzvslQ?t=53}, but it consists of 2 nearly identical §s: only the last 3 𝅘𝅥 of the sections are different, the 1st time moving to a ½-cadence on the dominant {https://youtu.be/ZXO89bzvslQ?t=32}, the 2nd time concluding in the tonic {which is itself rather unusual}. I chose not to play the repetition, which is really a repetition of a repetition, and also because there’s an opportunity for extending the dance by 2 extra bars @ the end, thanks to a sign {𝄋} a few bars before the final cadence {https://youtu.be/ZXO89bzvslQ?t=115} indicating a petite reprise, which is a short coda. {This sign has been omitted in the final bar of the MS, where it would be expected; but the intention is sufficiently clear.} The harpsichord was tuned to a=~415Hz, in meantone. The plectra were crow quills.$ $Præambulum ex d manualiter, 1637 den 10 Januarij by Heinrich Scheidemann, performed by Dale Carr Præambulum ex d manualiter, 1637 den 10 Januarij, by Heinrich Scheidemann (ca. 1596-1663) ; Performed by Dale Carr on the organ in Midwolde {Westerkwartier} on 18 July, 1987 This work is preserved in 2 manuscripts, of which one specifies manualiter and the other the date of composition. Both indications suggest an organ comparable with that in Midwolde, which has no pedals, and which was built in 1630 {Levinus Eekman} and remodeled in 1660 {Andreas de Mare}. The structure of the piece has an interesting symmetry: near the beginning {050} theres a passage with harmonies ascending by 3rds {a-e, c-g, e-b}, which is rather unusual, especially in a sequence of this length. In the passage leading to the final cadence {313} this ascent by 3rds is balanced by a descent by 3rds {d, b♭, g}, introducing the subdominant. Between these passages with harmonic movement in 3rds are several passages moving up or down chromatically in one or another voice, with the other voices in harmony. Though the concluding bass movement in descending 3rds is fairly rare, I can refer to 2 other works in which it can be heard: - Bach, Kunst der Fuge, contrapunctus 1 {f, d, b♭, g}, https://www.youtube.com/watch?v=TQ2oVZgq_dM @ 250. This descent is followed/echoed by a bass ascent in 3rds {d, f, a, c} leading to the transformation of the c♮ from the exposition - which has been a harmonic thorn-in-the-side throughout the piece - into a c#; - Tomkins, Pavan in 3 parts {c, a, f, d,}, @ the end of the 3rd section. If listeners are aware of other similar passages, Id be delighted to learn of them. registrations: {010} 8 Roerfluit, 4 Prestant, 2 Octaaf {050} 8, 4 {113} 8, 4, 2 {200} 8, 4, 2, 1½ Quint {treble, then bass} {255} 8, 4, 2, 1½, Sesquialter {treble}$ $Magnificat Quinti Toni by Jean Titelouze, performed by Dale Carr in Zeerijp on 12 Sept., 1980 Magnificat Quinti Toni {pub. 1626} by Jean Titelouze {1562/3 - 1633}, performed by Dale Carr on the organ in Zeerijp {prov. Groningen} on 12 Sept., 1980 {versets 1-3} Its a pity that Titelouzes works are seldom played, and thus little known, outside of France. His hymns & Magnificat verses are beautiful organ music, deserving of close study. His publication of Magnificat settings in 1626 included 7 versets in each mode, based on plainchant melodies. The 5th-mode melody, like the others, is in 2 phrases: the 1st is an ascending triad on f, that is f-a-c - and then some more depending on the verse in question. The 2nd phrase is a short melodic figure c-d-b-c-a - and then some more depending on the verse in question. The plainchant melodies derive from a time before our modern concepts of major & minor keys, which are roughly similar to those of Titelouze. He treats the melodies as subjects for modern music of his time, ergo in major & minor keys, more or less. This implies, for him, frequent use of b𝄬, though often with a nod to the original b𝄮. Many of Titelouzes organ works using plainsong melodies treat the melody as a cantus firmus, i.e. in long notes. This is the case in several of his magnificat versets, but not in those for the 5th tone, which are composed more or less as motets in which all parts have notes of roughly equal value. Verset 1 {Magnificat anima mea}: Since Titelouze is writing in a post-modal style, he seems to feel free to use real & tonal forms of his subjects, much as Bach or other later composers would do. The intervals of the tonal form are adjusted to fit the harmonic circumstances of the context. This means that instead of a triad f-a-c, spanning a perfect 5th, Titelouze might choose c-d-f, spanning a perfect 4th instead, without a guilty conscience. He even goes so far as to *begin* with the tonal form of his subject {https://youtu.be/Zo_hD5Dzg8E?t=19} c-d-f, *following* it by the real form {https://youtu.be/Zo_hD5Dzg8E?t=22} f-a-c in the upper voice. The 2nd § of this verse {https://youtu.be/Zo_hD5Dzg8E?t=62} is based on c-d-b-c-a, slightly varied. Verset 2 {Quia respexit}: Begins {https://youtu.be/Zo_hD5Dzg8E?t=116} as does the 1st with the tonal form of his slightly modified subject. The 2nd § {https://youtu.be/Zo_hD5Dzg8E?t=150} uses the repetition of the 1st tone of the subject that was heard in the 1st verset. The b𝄮 of the original is in this verset often preceded by a b𝄬. Verset 3 {Et misericordia ejus}: Begins {https://youtu.be/Zo_hD5Dzg8E?t=227} with the real form of the subject {f-a-c} but with a long c before; this is answered by the tonal form, which becomes f-c-d-f. The 2nd § {https://youtu.be/Zo_hD5Dzg8E?t=285} uses a more distant relative of the original: c-d-d-c-bb-a or f-a-a-g-f-e {later, even g-a-a-g-f-e}. This subject is also heard per arsin et thesin, i.e. with strong & weak beats reversed.$

Fantasia mit Bindungen by Sweelinck, played by Dale Carr in Örgryte nya Kyrkan on 13 December, 2000

Hymnus Ave maris stella by Girolamo Cavazzoni {Venice, 1543}, performed by Dale Carr

Clarifica me pater : 3 settings by William Byrd performed by Dale Carr @dalecarr6361