Fantasia in a by Orlando Gibbons {1583-1625}, played by Dale Carr on the organ in Krewerd @dalecarr6361

Dale Carr | Fantasia in a by Orlando Gibbons {1583-1625}, played by Dale Carr on the organ in Krewerd @dalecarr6361 | Uploaded April 2021 | Updated October 2024, 1 hour ago.
Fantasia in a by Orlando Gibbons {1583-1625} played by Dale Carr on the organ in Krewerd {prov. Groningen}, recorded in July of 1985

The organ in Krewerd is the grande dame of organs in the province of Groningen. It was built in 1531, according to a later text on the case, and is placed on the stone choir screen. Most of the pipes date from 1857 or before; the 8' Prestant & 2' Octaav used in this recording are original. They make an amazingly full sound, for just 2 stops.

Manuaal (CDEFGA-c ’’’)
8' Prestant
8' Holpyp
4' Octaav
4' Fluyt
3' Quint
2' Octaav
Sesquialtera

Pedaal (CDEFGA-d)
Aangehangen

The Fantasia by Gibbons {1583-1625} is preserved in a notebook copied by Benjamin Cosyn. The subject of the 1st section is presented imitatively in 2 forms {re-fa-mi-re & mi-sol-fa-mi}, followed by a 2nd section with seemingly endless ascending scales.

There's more of Gibbons at youtube.com/watch?v=Ia6uX3Uyy2c

and more of Krewerd at youtube.com/watch?v=G_HKDGBfP-I

$Fantasia in a by Orlando Gibbons {1583-1625}, played by Dale Carr on the organ in Krewerd Fantasia in a by Orlando Gibbons {1583-1625} played by Dale Carr on the organ in Krewerd {prov. Groningen}, recorded in July of 1985 The organ in Krewerd is the grande dame of organs in the province of Groningen. It was built in 1531, according to a later text on the case, and is placed on the stone choir screen. Most of the pipes date from 1857 or before; the 8 Prestant & 2 Octaav used in this recording are original. They make an amazingly full sound, for just 2 stops. Manuaal (CDEFGA-c ’’’) 8 Prestant 8 Holpyp 4 Octaav 4 Fluyt 3 Quint 2 Octaav Sesquialtera Pedaal (CDEFGA-d) Aangehangen The Fantasia by Gibbons {1583-1625} is preserved in a notebook copied by Benjamin Cosyn. The subject of the 1st section is presented imitatively in 2 forms {re-fa-mi-re & mi-sol-fa-mi}, followed by a 2nd section with seemingly endless ascending scales. Theres more of Gibbons at https://www.youtube.com/watch?v=Ia6uX3Uyy2c and more of Krewerd at https://www.youtube.com/watch?v=G_HKDGBfP-I$

Christum wir sollen loben schon, BWV696, by Johann Sebastian Bach, performed by Dale Carr

$O Lamm Gottes unschuldig, BWV656, by J.S. Bach, performed by Dale Carr on the organ in Noordwolde O Lamm Gottes unschuldig, BWV656, from J.S. Bachs Leipziger Choräle performed by Dale Carr on the organ in Noordwolde {prov. Groningen} on 5 October, 1997 This chorale setting is one of Bachs longest; Schumanns description heavenly length, which he used in reference to Schuberts C-major symphony, is certainly applicable here as well. It is composed of 3 variations: the 1st two manualiter with the c.f. in the top voice & the middle voice, respectively, and the 3rd with the c.f. in the pedal {originally written on 2 staves with a P indication}. Here are some cues that may be useful to listeners hunting for a specific passage: - verse 1 begins @ 016 ; Hoofdwerk 8 Præstant, 4 Octaaf; - m. 56 verse 2 begins @ 313 ; Hoofdwerk 8 Præstant, 4 Octaaf; - m.104 verse 3 begins @ 627 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin; - m.122 verse 3, 2nd half [fanfare] begins @ 726 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur, 8 Trompet ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin; - m.133 verse 3 last line [chromatic] begins @ 807 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur, 8 Trompet ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin; - m.140 verse 3 [coda] begins @ 829 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur, 8 Trompet ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin, Pedaalkoppel. The 1st 2 verses are relatively straightforward, in 3-voiced polyphony, without the special effects that characterize the final verse. The 1st has a countersubject, used also in inversion, which emphasizes the interval of a 6th that is prominent also in the 1st line of the chorale. The 2nd [313] has a new countersubject {e-a-g#-a and variants} which seems not to be closely related to the c.f. The 2nd verse concludes with a bridge of several measures [609] preparing the final verse, which begins [627] with a wonderful passage in invertible counterpoint above the c.f. in the pedals. Invertible counterpoint means that the voice-layers will fit in more than 1 vertical alignment. Here the top voice in what would otherwise be the repeat [657] of the 1st 2 lines of the chorale, is placed under the other 2 voices {which were above it, the 1st time through}. This verse continues [726] with a completely new motive, for which I added the trompet to the manual. Bach rarely specifies changes of registration and in fact rarely makes them easy, but here the change seems easy and natural to me. This line of the chorale concludes with a passage [807] of amazing polyphonic chromaticism ending on a C#-major chord: the harmonic climax of a piece in A major. The tuning of the organ in Noordwolde seems as if made to order for this passage: its excruciating, but never sounds out of tune. Unfortunately, the tuning was altered, i.e. made closer to equal temperament, during the most recent conservative restoration; I think that this was definitely neither conservative nor an improvement. In the final section [829] the c.f. is accompanied by scales in 8th-notes, ascending & descending, and the final note is prolonged to allow a satisfying harmonic resolution to the piece. Thanks to M.H. Timmer for the recording. Thanks to Jan Veltkamp for tuning before the concert. Thanks to Pieter Broere registration assistance & page-turning. Thanks to me for the ancient foto. Other performances @ Noordwolde are here: - https://www.youtube.com/watch?v=pZvA5UEBw1o - https://www.youtube.com/watch?v=N9idx8dQH7Q Other organ works of Bach are here: - https://www.youtube.com/watch?v=Jf5rwfk94C0 - https://www.youtube.com/watch?v=DDuEdj8QyLc - https://www.youtube.com/watch?v=dextJa7Ju-w - https://www.youtube.com/watch?v=0POd6NKZLDU - https://www.youtube.com/watch?v=r7vo7rkjeCI - https://www.youtube.com/watch?v=nX8vX-9Aw9s - https://www.youtube.com/watch?v=qDaIA3OEQzw - https://www.youtube.com/watch?v=sDfX_W6tPS4 - https://www.youtube.com/watch?v=fQ0oGc8N6lw$

In nomine by John Bull performed by Dale Carr on 25 April, 1987 on a harpsichord by Hendrik Broekman

$Tocata avanti la Messa della Domenica by Girolamo Frescobaldi performed by Dale Carr in Midwolde Tocata avanti la Messa della Domenica by Girolamo Frescobaldi {1583-1643}, from his Fiori musicali {1635} ; performed by Dale Carr on the organ in Midwolde {Westerkwartier} on 18 July, 1987 The toccatas in Fiori musicali are all notated polyphonically, in partitvra a qvattro vtili per sonatori as stated on the title page ; this makes them look very different from the other toccatas he published, which are notated on 2 staves more or less like what were accustomed to in more modern keyboard music. Since most of the pieces in this collection are polyphonic settings of chant melodies, the use of an open score was probably obligatory for the whole publication. The organ in Midwolde is quite different from most of the famous organs in the province of Groningen: it was conceived as a secular instrument: a house organ, probably for the residents of the manor Nienoord, which is not far from the church. It was built in 1630 by Livinus Eekman, and rebuilt & enlarged for the church in 1657-60 by Andreas de Mare. Registration: 8 Roerfluit, 4 Octaaf, 2 Octaaf, 1½ Quint Other organ works of Frescobaldi can be heard at: - https://www.youtube.com/watch?v=6IxQb3lKLUs - https://www.youtube.com/watch?v=MzjBvec6 A - https://www.youtube.com/watch?v=5D1sJc9zdHI - https://www.youtube.com/watch?v=EZt-roCsVJE - https://www.youtube.com/watch?v=E7rQRLLofik - https://www.youtube.com/watch?v=zoIaytgsuCw Harpsichord works of Frescobaldi can be heard at: - https://www.youtube.com/watch?v=eFxK1xpVjfI - https://www.youtube.com/watch?v=JCLJhe47Vf8 - https://www.youtube.com/watch?v=Uovg_ZMKomQ$

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

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