Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi, performed by Dale Carr @dalecarr6361

Dale Carr | Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi, performed by Dale Carr @dalecarr6361 | Uploaded October 2021 | Updated October 2024, 3 hours ago.
Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi,
from his Primo libro / delle fantasie / a qvattro {Milano, 1608},
performed by Dale Carr on the Schnitger organ {1695} in Nieuw Scheemda {province of Groningen} on 6 June, 1979.

This Fantasia undecima comes from Frescobaldi's 1st keyboard publication, 'Il primo libro delle fantasie a quattro', published in 1608. The work has three sections and makes use of 4 subjects.
These 4 subjects are presented together in a single 'exposition' ; see 0'23" for the incipit.
The subjects can be understood as:
- 1: sol - ut - fa - mi;
- 2: sol - fa - mi - la - sol;
- 3: ut - re - mi - fa - re - mi - fa - sol - mi;
- 4: ut - mi - fa - sol.
The 1st section flows in half- and whole-notes, with very little contrapuntal material that is not directly related to the subjects. The rhythm of the subjects, individually, is quite free.
In the 2nd section {2'08"}, the basic note-value is halved, which makes the tempo appear as if doubled. As in the 1st section, the rhythm of the subjects, individually, is quite free.
The 3rd section {3'41"} returns to the pace of the 1st, moving predominantly in half- and whole-notes, with the essential exception of the cantus-firmus voice, which is in double-measures. Here the subjects are presented one after the other in very long notes, each in a different voice, with motives derived from the subjects in the other voices.
The work ends with an incomparable coda {6'24"}, a tour-de-force which presents the 4 subjects simultaneously in the last 2½ measures.

The performance, on the Schnitger positive in Nieuw Scheemda, was recorded on 6 June, 1979, by Michiel Timmer.
At the date of this recording, the organ was tuned in a modified meantone temperament.
Registration: 8' Holpijp, 4' Praestant.

Thanx are due to Allen Garvin who provided an open score in modern clefs {at ISMPL imslp.org/wiki/Category:Frescobaldi,_Girolamo} and granted permission to use it for this video.

Another recording of this organ is at youtube.com/watch?v=Yx66hWdlcK4
More of Frescobaldi's keyboard works are at
- youtube.com/watch?v=5D1sJc9zdHI ;
- youtube.com/watch?v=EZt-roCsVJE ;
- youtube.com/watch?v=E7rQRLLofik ;
- youtube.com/watch?v=FxSZRo4pBeI .

$Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi, performed by Dale Carr Fantasia vndecima, sopra quattro soggietti, by Girolamo Frescobaldi, from his Primo libro / delle fantasie / a qvattro {Milano, 1608}, performed by Dale Carr on the Schnitger organ {1695} in Nieuw Scheemda {province of Groningen} on 6 June, 1979. This Fantasia undecima comes from Frescobaldis 1st keyboard publication, Il primo libro delle fantasie a quattro, published in 1608. The work has three sections and makes use of 4 subjects. These 4 subjects are presented together in a single exposition ; see 023 for the incipit. The subjects can be understood as: - 1: sol - ut - fa - mi; - 2: sol - fa - mi - la - sol; - 3: ut - re - mi - fa - re - mi - fa - sol - mi; - 4: ut - mi - fa - sol. The 1st section flows in half- and whole-notes, with very little contrapuntal material that is not directly related to the subjects. The rhythm of the subjects, individually, is quite free. In the 2nd section {208}, the basic note-value is halved, which makes the tempo appear as if doubled. As in the 1st section, the rhythm of the subjects, individually, is quite free. The 3rd section {341} returns to the pace of the 1st, moving predominantly in half- and whole-notes, with the essential exception of the cantus-firmus voice, which is in double-measures. Here the subjects are presented one after the other in very long notes, each in a different voice, with motives derived from the subjects in the other voices. The work ends with an incomparable coda {624}, a tour-de-force which presents the 4 subjects simultaneously in the last 2½ measures. The performance, on the Schnitger positive in Nieuw Scheemda, was recorded on 6 June, 1979, by Michiel Timmer. At the date of this recording, the organ was tuned in a modified meantone temperament. Registration: 8 Holpijp, 4 Praestant. Thanx are due to Allen Garvin who provided an open score in modern clefs {at ISMPL https://imslp.org/wiki/Category:Frescobaldi,_Girolamo} and granted permission to use it for this video. Another recording of this organ is at https://www.youtube.com/watch?v=Yx66hWdlcK4 More of Frescobaldis keyboard works are at - 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=FxSZRo4pBeI .$

Piercing Eyes, by Joseph Haydn, performed by James Fankhauser, tenor, and Barbara Shearer, piano

Meine Seele erhebt den Herrn, BWV648, by J.S. Bach, performed by Dale Carr in Noordwolde

La Pastourelle for harpsichord by Louis Couperin, performed by Dale Carr on 7 October, 1989,

$Chaconne in d minor by Louis Couperin performed by Dale Carr in Groningen on 7 October 1989 Chaconne in d minor for harpsichord by Louis Couperin {~1626 - 1661} Performed by Dale Carr in the Pelstergasthuiskerk in Groningen on 7 October 1989 on a harpsichord built in 1975 by Hendrik Broekman, modeled on an instrument by Michel Richard, 1688. Most keyboard suites by Louis Couperin end with a chaconne or passacaille, if the order of the movements in the manuscript indicates the order in which the movements are to be played. Many of these types of movements, generally in triple meter, consist of a refrain alternating with couplets : schematically abacadaea.... {This is essentially the same form that later became known as rondo in the later 18th & the 19th century.} The refrains of several of Couperins other chaconnes have, as here, a clear subdominant bias: - C major {called Grand Couplet}; - D major {called 1er Couplet}; - F major; - g minor. In this particular chaconne, the refrain appears {209} transposed up a 5th after the modulating 3rd couplet, followed by the untransposed form {228} preceding the 4th couplet. The repeats of the refrain are sometimes written out, sometimes assumed without being specified. The 1st & 2nd couplets {035 ; 112} of this d-minor chaconne are masterful examples of style brisé (a French term meaning arpeggiated, to oversimplify). The harmony and the individual voices and the arpeggiation are wonderfully coördinated and each-and-all essential to the total effect. Thanx to Frans Driesens for the recording! The rest of this suite can be found here: - prélude non mesuré @ https://www.youtube.com/watch?v=Fpy1vuL5zVM ; - allemande @ https://www.youtube.com/watch?v=eYi4zl68uhE ; - piece de trois sortes de mouvements @ https://www.youtube.com/watch?v=kTRmz31GSBQ ; - courante @ https://www.youtube.com/watch?v=lgiSBntdQtM ; - sarabande @ https://www.youtube.com/watch?v=Tv82QY2y4RM ; - canaries @ https://www.youtube.com/watch?v=KDQxtEQk4Ao ; - la pastourelle @ https://www.youtube.com/watch?v=OrvZB_GBlAQ . The movements from another suite by Louis Couperin, in b minor, can be heard here: - allemande : https://www.youtube.com/watch?v=4sZ9-TZs-PI - courante : https://www.youtube.com/watch?v=vkEeUc9jvB0 - sarabande : https://www.youtube.com/watch?v=8SBI263Y2Ec$

Præambulum in d by Heinrich Scheidemann performed by Dale Carr on the organ in Krewerd in 1984

Capriccio sopra Ut-Re-Mi-Fa-Sol-La, by Frescobaldi performed by Dale Carr on a Broekman harpsichord

Adagio in C Major for Glass harmonica, K.617a, performed by Dale Carr on the organ in Kantens.

In nomine {vi} by John Bull, performed by Dale Carr on 6 October, 1998

$A Fancy for two to play, by Thomas Tomkins, played on the organ in Krewerd by Dale Carr & Jan Ernst A Fancy : for two to play, by Thomas Tomkins {1572-1656}, performed on the organ in Krewerd {prov. Groningen} by Dale Carr & Jan Ernst on 25 September 1988 This interesting work was apparently composed as a response to Carletons verse for two to play. It is thus the 2nd-oldest composition for 4 hands on a single keyboard. {Byrd wrote a piece for 3 hands; the 3rd hand plays ut.re.mi.fa.sol.la up & down.} As is still general practice in music publishing, the bass and the treble parts in the MS are on facing pages, which is convenient for the players, but less so for listeners trying to follow the sounds with their eyes. For this reason I have accompanied this recording with a published version that places the lower and upper parts vertically aligned.* The measures are also clearly numbered in the MS, presumably to help the players rehearse. Notably, the measures are not all the same length. We made some slight adjustments in the notes as preserved, for 2 reasons: 1. the short-8ve compass of the organ in Krewerd doesnt have keys for all the notes that Tomlins wrote in the bass parts; 2. a few d#s in the MS sound bad in meantone tuning, as at Krewerd. At the end of the recording I have pasted the beginning of the bass parts from the MS. The piece is fun to play; I hope listeners will find it as much fun to hear it. * This score can be found at https://imslp.org/wiki/Fancy_for_Two_to_Play%2C_MB_32_(Tomkins%2C_Thomas). It was reconstructed by Pierre Gouin & published by Les Éditions Outremontaises of Montréal. License for distribution is at https://creativecommons.org/licenses/by-nc/4.0/.$

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Sarabande in d minor for harpsichord by Louis Couperin, performed by Dale Carr on 7 October, 1989,