Het Juweel van Doctor Bull, quod fecit anno 1621 21 December, performed by Dale Carr in Zeerijp @dalecarr6361

Dale Carr | Het Juweel van Doctor Bull, quod fecit anno 1621 21 December, performed by Dale Carr in Zeerijp @dalecarr6361 | Uploaded August 2023 | Updated October 2024, 3 hours ago.
Het Juweel van Doctor Bull, quod fecit anno 1621 21 December {My Jewel}, performed by Dale Carr on the organ in Zeerijp {prov. Groningen} on 12 Sept., 1980

Bull composed 2 versions of this piece: one is a rump-ti-dump version, which is preserved in several variants including that in the Fitzwilliam Virginal Book; the present version, however, is more polyphonic, more developed, and requires, I think, a more thoughtful approach. It is preserved in a single MS giving the title & date as above.

This setting, mostly in 3 clear voices, has a tune of 3 lines, each with a varied repetition, though the last line brings a surprise instead of a simple varied repetition.
The 1st line has the tune g-c-d-e-g-c..., which gives rise to 2 important motives used later:
c-d-e-c & e-g-c. But even before those motives are put to work, the tune itself is introduced in imitation {youtu.be/bh48KGFdgiE?t=15} in the 1st 2 measures. Measure 3 brings an unexpected new harmony {youtu.be/bh48KGFdgiE?t=26}, a B𝄬-major chord, above which the next part of the tune, e-g-f-B𝄬, is presented and then imitated in diminution in the following measure. Measure 5 {youtu.be/bh48KGFdgiE?t=35} returns to the chord of C supporting the next part of the tune, e-g-d , c-e-b in a dotted rhythm, which is also imitated in the other voices. This line ends {youtu.be/bh48KGFdgiE?t=45} with e-d-c-e-d-c, which should be construed as the 1st of the motives mentioned above {c-d-e-c} linked with its inversion. There's a lot going on here underneath a rather unserious, even whimsical tune.

The repetition of this 1st section begins {youtu.be/bh48KGFdgiE?t=54} by applying the 1st motive {c-d-e-c} directly to the tune that gave birth to it, again treated in imitation. To this mix is added a new motive {d-f-d} in the next measure {youtu.be/bh48KGFdgiE?t=65}, foreshadowing an important element of the 2nd section. In measure 13 {youtu.be/bh48KGFdgiE?t=74} the 2nd motive, e-g-c, reappears in the imitative fabric below the melody.

The 2nd line of the tune begins in G {youtu.be/bh48KGFdgiE?t=93} with a melody b-d-d-d-(e-)d..., underneath which we hear the motive g-b-g in various forms {as mentioned above}. This motive is heard both on the beat & off the beat {per arsin & thesin}. The 1st 2 measures in G are followed by d-minor moving again to B𝄬. The repetition of this line {youtu.be/bh48KGFdgiE?t=131} takes the repeated tone d to make a new motive in 8th notes, b-c-d-d-e-d-d-e-d, which is used in parallel 3rds & 6ths.

The 3rd line of the tune begins in F {youtu.be/bh48KGFdgiE?t=170} accompanied by the 1st motive, again linked with its inversion {a-f-g-a-f, & variants}. The figuration under the final chord of G includes g-e-f#-g-a-b-g-b-a-g, linking 3 forms of this motive with each other. The repetition of the 3rd line begins 'normally' {youtu.be/bh48KGFdgiE?t=209} w/ another variant of the repeated-note motive, continuing 'normally' for 4 bars. The 2nd ½ of this 3rd line {youtu.be/bh48KGFdgiE?t=227} is however not varied, but replaced by the tune known as 'Wolseys wild' or 'The woods so wild'. Any of Bull's listeners would have recognized this deviation instantly, since this tune was widely known at the time - far better known than the tune of Bull's Juweel.

A 4th section is added in a completely different character {youtu.be/bh48KGFdgiE?t=246} : the tune of 'Wolseys wild' is heard in the top voice, while the left hand provides a running bass in 𝅘𝅥𝅯. All of those meticulously developed motives from the 1st 3 sections are here forgotten.

Registration: Rugwerk, 8' Quintadena, 2' Gemshoorn ; repeats on the Hoofdwerk, 8' Holpijpe, 2' Octave;
Last section {youtu.be/bh48KGFdgiE?t=246} {'Wolseys wild'}: right hand on Rugwerk, as above; left hand on Hoofdwerk, 8' Holpijpe, 3' Quinte Fluite, 2' Octave.

Will Yow Walke the Woods soe Wylde {en.wikipedia.org/wiki/Will_Yow_Walke_the_Woods_soe_Wylde}

The recording heard here was previously uploaded without the score and with a shorter commentary {youtube.com/watch?v=GLttnwf4St0 published 211121}

$Het Juweel van Doctor Bull, quod fecit anno 1621 21 December, performed by Dale Carr in Zeerijp Het Juweel van Doctor Bull, quod fecit anno 1621 21 December {My Jewel}, performed by Dale Carr on the organ in Zeerijp {prov. Groningen} on 12 Sept., 1980 Bull composed 2 versions of this piece: one is a rump-ti-dump version, which is preserved in several variants including that in the Fitzwilliam Virginal Book; the present version, however, is more polyphonic, more developed, and requires, I think, a more thoughtful approach. It is preserved in a single MS giving the title & date as above. This setting, mostly in 3 clear voices, has a tune of 3 lines, each with a varied repetition, though the last line brings a surprise instead of a simple varied repetition. The 1st line has the tune g-c-d-e-g-c..., which gives rise to 2 important motives used later: c-d-e-c & e-g-c. But even before those motives are put to work, the tune itself is introduced in imitation {https://youtu.be/bh48KGFdgiE?t=15} in the 1st 2 measures. Measure 3 brings an unexpected new harmony {https://youtu.be/bh48KGFdgiE?t=26}, a B𝄬-major chord, above which the next part of the tune, e-g-f-B𝄬, is presented and then imitated in diminution in the following measure. Measure 5 {https://youtu.be/bh48KGFdgiE?t=35} returns to the chord of C supporting the next part of the tune, e-g-d , c-e-b in a dotted rhythm, which is also imitated in the other voices. This line ends {https://youtu.be/bh48KGFdgiE?t=45} with e-d-c-e-d-c, which should be construed as the 1st of the motives mentioned above {c-d-e-c} linked with its inversion. Theres a lot going on here underneath a rather unserious, even whimsical tune. The repetition of this 1st section begins {https://youtu.be/bh48KGFdgiE?t=54} by applying the 1st motive {c-d-e-c} directly to the tune that gave birth to it, again treated in imitation. To this mix is added a new motive {d-f-d} in the next measure {https://youtu.be/bh48KGFdgiE?t=65}, foreshadowing an important element of the 2nd section. In measure 13 {https://youtu.be/bh48KGFdgiE?t=74} the 2nd motive, e-g-c, reappears in the imitative fabric below the melody. The 2nd line of the tune begins in G {https://youtu.be/bh48KGFdgiE?t=93} with a melody b-d-d-d-(e-)d..., underneath which we hear the motive g-b-g in various forms {as mentioned above}. This motive is heard both on the beat & off the beat {per arsin & thesin}. The 1st 2 measures in G are followed by d-minor moving again to B𝄬. The repetition of this line {https://youtu.be/bh48KGFdgiE?t=131} takes the repeated tone d to make a new motive in 8th notes, b-c-d-d-e-d-d-e-d, which is used in parallel 3rds & 6ths. The 3rd line of the tune begins in F {https://youtu.be/bh48KGFdgiE?t=170} accompanied by the 1st motive, again linked with its inversion {a-f-g-a-f, & variants}. The figuration under the final chord of G includes g-e-f#-g-a-b-g-b-a-g, linking 3 forms of this motive with each other. The repetition of the 3rd line begins normally {https://youtu.be/bh48KGFdgiE?t=209} w/ another variant of the repeated-note motive, continuing normally for 4 bars. The 2nd ½ of this 3rd line {https://youtu.be/bh48KGFdgiE?t=227} is however not varied, but replaced by the tune known as Wolseys wild or The woods so wild. Any of Bulls listeners would have recognized this deviation instantly, since this tune was widely known at the time - far better known than the tune of Bulls Juweel. A 4th section is added in a completely different character {https://youtu.be/bh48KGFdgiE?t=246} : the tune of Wolseys wild is heard in the top voice, while the left hand provides a running bass in 𝅘𝅥𝅯. All of those meticulously developed motives from the 1st 3 sections are here forgotten. Registration: Rugwerk, 8 Quintadena, 2 Gemshoorn ; repeats on the Hoofdwerk, 8 Holpijpe, 2 Octave; Last section {https://youtu.be/bh48KGFdgiE?t=246} {Wolseys wild}: right hand on Rugwerk, as above; left hand on Hoofdwerk, 8 Holpijpe, 3 Quinte Fluite, 2 Octave. Will Yow Walke the Woods soe Wylde {https://en.wikipedia.org/wiki/Will_Yow_Walke_the_Woods_soe_Wylde} The recording heard here was previously uploaded without the score and with a shorter commentary {https://www.youtube.com/watch?v=GLttnwf4St0 published 211121}$

Toccata VI da sonarsi alla Levatione by Froberger performed by Dale Carr in Zeerijp on 7 June, 1986

Fantasia in c BWV537 by Johann Sebastian Bach, performed by Dale Carr on 10 June, 1998

$Fuga sopra il Magnificat, by Bach, played by Dale Carr in Örgryte nya Kyrkan, Göteborg, in Dec. 2000 Fuga sopra il Magnificat, pro Organo pleno con Pedale, BWV733, by Johann Sebastian Bach Recorded by Dale Carr in Örgryte nya Kyrkan, Göteborg, on 13 December, 2000 The melody of the chant, which consists of only two lines, is combined with 2 other motives, one in mostly stepwise 8th-notes {also used in inversion} and the other in zig-zag quarters, and also with itself in canon at the 5th below. The pedals are used only at the end, presenting the c.f. in augmentation. I have indicated appearances of the subject in the score accompanying the performance. The harmony is rich and clear without straying far from the tonal center of d minor; in fact, the piece sounds excellent in meantone tuning. 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} registration: - HW 16 Trommet, 8 Octav, 4 Octav, 2 Super Octav, Mixtur 6-8r; - PED 16 Posaunen, 8 Trommet, 4 Trommet, 2 Cornet Other performances of this piece on other organs: - at Noordbroek, https://www.youtube.com/watch?v=DMuN0XlLxUA - at Norden, https://www.youtube.com/watch?v=DDuEdj8QyLc$

Toccata ottava in F by Girolamo Frescobaldi, performed by Dale Carr in the church in Nieuw Scheemda

Allemande in d by Louis Couperin, performed by Dale Carr on a harpsichord by Hendrik Broekman

Felix namque, anon., ~1530, for organ, performed by Dale Carr

Voluntary in e for organ by Matthew Locke performed by Dale Carr in Noordbroek on 7 May, 1996

$Kyrie Gott Heiliger Geist à 5, Canto fermo in Basso, Cum Organo pleno ; performed by Dale Carr Kyrie Gott Heiliger Geist {BWV 671} à 5, Canto fermo in Basso, Cum Organo pleno ; performed by Dale Carr on the Schnitger/Wenthin organ {1710/1782} in the G eorgskirche in Weener {Ostfriesland} on November 4, 1990 The setting of Kyrie Gott Heiliger Geist is the 3rd movement of a trilogy* {Kyrie/Christe/Kyrie} composed for an organ with 2 manuals and independent pedal and published in 1739 in the 3rd volume of Bachs Clavierübung {keyboard practice}. This particular piece doesnt require 2 manuals, or even an independent pedal division. It does require a plenum {full organ, organo pleno} that allows the listener to hear the 5 voices clearly, and this requirement is excellently satisfied by the Schnitger organ in Weener. This home-made recording cannot do full justice to the majesty and the clarity of the sound of this organ in the church itself. The basic material of the piece is derived by linking the 1st 2 lines of the chorale and playing this melody in overlapping and syncopated imitation by inversion. To state this in less technical terms: the imitating voice interrupts the 1st voice, and when the 1st voice goes up the 2nd voice goes down {and vice versa}. This contrapuntal unit is also used with the first voice inverted & the 2nd right-side-up. The voices become intensely chromatic above the last line of the chorale, together with increasing use of augmented and diminished intervals and harmonies; but the integrity of the individual voices is wonderfully preserved. The basic contrapuntal unit mentioned above is abandoned and replaced by motives unrelated to the chorale; but these are deployed, as was the main theme, in overlapping statements and by inversion. *The 1st movement is found here: https://www.youtube.com/watch?v=qDaIA3OEQzw . *The 2nd movement is found here: https://www.youtube.com/watch?v=sDfX_W6tPS4$

Hinno Aue maris stella by Frescobaldi, performed by Dale Carr in the DerAa-Kerk on 9 September, 1991

$Ut, Re, Mi, Fa, Sol, La, by John Bull, played by Dale Carr on a harpsichord made by Hendrik Broekman Ut, Re, Mi, Fa, Sol, La, for harpsichord, by John Bull ; 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 With such an exceptional piece, it’s difficult to know what to write about it, unless one has unlimited space, so I’ll just pick a few things that I think are important. The subject, consisting of the 1st 6 tones of our modern major scale, is presented on each of the 12 chromatic tones of the keyboard. This would not sound acceptable in mean-tone, the most common tuning method of the era, which fact raises more questions than can be answered with certainty: - how would the player, then, have tuned? - was the piece meant to be played on a keyboard instrument? It’s not possible to know how a player then would have tuned; I used a ⅕-comma temperament, which provides quite pure triads in common keys and a considerable sense of discord in more distant harmonic realms. There’s a theory that the piece was written 1st for an ensemble of instruments, such as viols, with more flexible tuning than keyboards have, & then copied out in a keyboard score. I find this quite plausible, especially given the fact that there are other hexachord pieces from the time for ensemble that also use distant harmonies - even unusual harmonies for instruments with flexible tuning possibilities. Additionally, the present work as it has come to us is in 4 strict parts, though they are notated, according to the custom of the time, rather freely. One could easily un-transcribe the piece to make it playable by a consort. The subject is presented 1st on g, ascending & descending; then similarly on a, then on b, c#, d#, & f. Then {https://youtu.be/g2Yr5-b_rTY?t=153} it is shifted to the bass voice & presented similarly on a𝄬, b𝄬, c, d, e, & f#. From the 13th statement {https://youtu.be/g2Yr5-b_rTY?t=284} to the end, the subject remains on g. The 14th & 15th statements {https://youtu.be/g2Yr5-b_rTY?t=307} use complex triple meter with syncopations; the last 2 statements are more simple again. What do the other voices do? Some melodic motives are imitated in a single other voice before vanishing, but the texture is generally not imitative, which is rather unusual for a polyphonic work of this time & place. On the other hand, Bull has inserted references to at least 2 popular ditties of the period: -The leaves be green, also known as ‘Browning’, is heard in the alto voice in §5 e𝄬-a𝄬-g-f-e𝄬 {https://youtu.be/g2Yr5-b_rTY?t=121} & possibly §16, alto d-g-f-e, e-a-g-f# {https://youtu.be/g2Yr5-b_rTY?t=118}. This tune was known from ensemble settings by Byrd et al. -The Woods so wild, known to us from Byrd’s & Gibbons’s keyboard variations and also quoted by Dowland in ‘Can she excuse my Wrongs, is briefly quoted in §15, alto voice {https://youtu.be/g2Yr5-b_rTY?t=329}. Bull quoted this tune again at the end of his variations “Het Juweel van Doctor Bull” {as can be heard @ https://youtu.be/GLttnwf4St0?t=226 } -A couple of other possibilities that I have not succeeded in identifying are the soprano voice in §8: f-b𝄬-g-a-a-g {https://youtu.be/g2Yr5-b_rTY?t=179} ; and the tenor in §9: a-b-c-d-a {https://youtu.be/g2Yr5-b_rTY?t=203}. Perhaps listeners can identify these? But maybe they’re not citations after all.$ $Fantasia in d by Orlando Gibbons, performed by Dale Carr on a harpsichord built by Hendrik Broekman Fantasia in d for harpsichord by Orlando Gibbons, performed by Dale Carr on a harpsichord built in 1975 by Hendrik Broekman, modeled on an instrument by Michel Richard, 1688 The work is one of Gibbonss shortest and most subtle fantasias. It is found in a book in the Royal Music Collection containing 90 works by various composers copied by Benjamin Cosyn, https://www.bl.uk/manuscripts/Viewer.aspx?ref=r.m.23.l.4_fs001r Words matching the subtlety of Gibbonss tones fail me. Perhaps a few words about the many ornament signs in the MS can supply the deficit? This despite the fact that, so far as I am aware, nobody has yet provided a satisfactory interpretation of English keyboard ornament signs. Please enlighten me if I have missed something important! The ornament signs are not consistent in each appearance of a subject. This could mean that making the subject sound the same at each appearance was not considered inportant; or that the signs themselves might mean different things in different contexts; or even that the signs were not intended to be binding on the player at all. In defense of this last outrageous possibility, I suggest that the reader consider other ornaments in the MS, by which I mean what appear to be calligraphic ornaments. The initial O of the composers name is written with a dot inside it; must we assume that this would be pronounced differently from an O with no dot? And after the title word ƒƒantasia theres a colon {:} followed by what might simply be a curved flourish of the pen. Must we attach any great significance to this flourish? Elsewhere, the colon is used to indicate an abbreviation, but not here; what might it then signify? And the thick vertical lines and the 5+3 dots found on each staff before the 1st notes: should these influence our performance? Ditto the flourish after the final notes; the word ƒƒinis would be sufficient to indicate the end of the piece, as would the fermate. I have been sparing in the use of sounding ornaments, in accordance with what I hear as the simplicity of the work. registration: dogleg 8 on upper manual More of Gibbons on this harpsichord: - https://www.youtube.com/watch?v=9nqhsFfuH6Q More of Gibbons on organ: - https://www.youtube.com/watch?v=7tMQs-7Bvp0 at Loppersum; - https://www.youtube.com/watch?v=hAx9sOQu2tE at Krewerd; - https://www.youtube.com/watch?v=Ia6uX3Uyy2c at Norden.$