@dalecarr6361

@dalecarr6361

Dale Carr | Magnificat Secundi Toni by Girolamo Frescobaldi recorded by Dale Carr in Firenze in 1989 @dalecarr6361 | Uploaded June 2021 | Updated October 2024, 44 minutes ago.
Magnificat Secundi Toni by Girolamo Frescobaldi {1583-1643}, from his Secondo Libro di Toccate · Canzone · Versi d'Hinni · Magnificat {...} 1637

Recorded by Dale Carr on the organ {1581} of San Niccolò Oltrarno in Firenze, also known as Chiesa di S.Niccolò Sopr'Arno, on 21 June, 1989

Frescobaldi's verses for the 2nd tone Magnificat make good use of the fact that the 2nd line of the cantus firmus is close to being the inversion of the 1st line. Practically every note of every verse can be derived from the c.f.

The organ is simply a jewel. It has but one manual with principal registers on one windchest {ripieno} & subsidiary registers including the standard 4' flute on a second chest {concerto}. More info on the organ can be found here:
it.wikibooks.org/wiki/Disposizioni_foniche_di_organi_a_canne/Italia/Toscana/Citt%C3%A0_metropolitana_di_Firenze/Firenze/Firenze_-_Chiesa_di_San_Niccol%C3%B2_Oltrarno

Registrations:
Verse 1: Principale
Verse 2: Flauto ottava
Verse 3: Principale
Verse 4: Ottava
Verse 5: 8', 4', 2'
Verse 6: Plenum

More organ works of Frescobaldi:
- youtube.com/watch?v=9hgHeRtupWA
- youtube.com/watch?v=6IxQb3lKLUs
- youtube.com/watch?v=wzhqj9yA2DU

$Magnificat Secundi Toni by Girolamo Frescobaldi recorded by Dale Carr in Firenze in 1989 Magnificat Secundi Toni by Girolamo Frescobaldi {1583-1643}, from his Secondo Libro di Toccate · Canzone · Versi dHinni · Magnificat {...} 1637 Recorded by Dale Carr on the organ {1581} of San Niccolò Oltrarno in Firenze, also known as Chiesa di S.Niccolò SoprArno, on 21 June, 1989 Frescobaldis verses for the 2nd tone Magnificat make good use of the fact that the 2nd line of the cantus firmus is close to being the inversion of the 1st line. Practically every note of every verse can be derived from the c.f. The organ is simply a jewel. It has but one manual with principal registers on one windchest {ripieno} & subsidiary registers including the standard 4 flute on a second chest {concerto}. More info on the organ can be found here: https://it.wikibooks.org/wiki/Disposizioni_foniche_di_organi_a_canne/Italia/Toscana/Citt%C3%A0_metropolitana_di_Firenze/Firenze/Firenze Chiesa_di_San_Niccol%C3%B2_Oltrarno Registrations: Verse 1: Principale Verse 2: Flauto ottava Verse 3: Principale Verse 4: Ottava Verse 5: 8, 4, 2 Verse 6: Plenum More organ works of Frescobaldi: - https://www.youtube.com/watch?v=9hgHeRtupWA - https://www.youtube.com/watch?v=6IxQb3lKLUs - https://www.youtube.com/watch?v=wzhqj9yA2DU$

Het Juweel van Doctor Bull, performed by Dale Carr on the organ in Zeerijp

Prelude and Almand in D by Henry Purcell, played by Dale Carr

O lux on the faburden by John Redford {*~1500 - †1547}

Contrapunctus 4 from Die Kunst der Fuge by Bach Performed by Dale Carr in Leens on 19 May, 1990

$A Fancy in Gamut flatt by Orlando Gibbons {1583-1625} A Fancy in Gamut flatt by Orlando Gibbons {1583-1625}, oerformed by Dale Carr on the Schnitger organ {1688} in the Ludgerikirche in Norden {Ostfriesland} on October 10, 1998 I could write pages about this wonderful piece, but Ill restrain myself and hope that listeners will be able to share my enthusiasm for it through this performance. The work is preserved in a single manuscript which is in the hand of Benjamin Cosyn, a pupil of Gibbonss. I suspect that Cosyn wrote it out after hearing Gibbons improvise the piece. It appears in any case to be an uncorrected MS, since it contains parallel 5ths and other likely mistakes that would certainly have been corrected if Gibbons had written the piece down himself and given it to Cosyn to copy, rather than inventing it on the spot at the keyboard. The fact that the piece contains many artful contrapuntal devices, including even invertible counterpoint using 3 subjects, is no argument against the works having been improvised: choristers were taught to improvise counterpoint from an early age. But there are other reasons for thinking that the piece is an improvisation. One is the unlikely similarity between the 1st subject & the countersubject; another is the 16th-note flourish leading to this countersubject at the 1st entry, which flourish is omitted thereafter in the score because, I assume, it would have led to unacceptable parallel intervals. Composing or revising on paper would have offered the opportunity to avoid/correct these miscalculations, if thats what they are. The careful listener will hear several motives that occur almost throughout the work in various forms, for example the semi-tone motive g-g-f#-g and its inversion d-d-eb-d, and the motive d-f-e-d and its retrograde inversion f-e-d-f. Both of these are related to the subject presented at the outset. The sublime coda of the piece finally presents straightforwardly in its last measures what I conclude is the subject of the whole piece: g-bb-a-g-f#-g. From this subject almost all of the various motives used in the work can be derived. In closing I refer the reader to a pronouncement worth pondering: Like Beethoven in his last quartets, or Webern at almost any time, Gibbons is an artist of such intractable commitment that, in the keyboard field, at least, his works work better in ones memory, or on paper, than they ever can through the intercession of a sounding-board. Glenn Gould, from https://en.wikipedia.org/wiki/Orlando_Gibbons$

Toccata VI da sonarsi alla Levatione by Johann Jakob Froberger, performed by Dale Carr

Fantasia nona sopra trè soggetti, by Frescobaldi, performed by Dale Carr on 22 May, 1993

The Wanderer, by Joseph Haydn, performed by James Fankhauser, tenor, and Barbara Shearer, piano

Fantasia in g minor BWV542 for organ by Johann Sebastian Bach

Fancy in d by William Byrd performed by Dale Carr in the cathedral in Metz on 4 July, 1993

$Suite in F major : Gaillarde, by Louis Couperin performed by Dale Carr on 25 April, 1987 Suite in F major : Gaillarde, by Louis Couperin {~1626-1661}, performed by Dale Carr in the church in Middelbert {Groningen} on 25 April, 1987, on a harpsichord made by Hendrik Broekman in 1975 The title has been crossed out in the MS; it’s not possible to be certain of the reason, but I suspect that the scribe came to doubt whether the title he’d been given was correct. Louis Couperin’s 3 gaillardes in this MS are rather dissimilar to each other, so the scribe’s doubts may be justified on that account. The 1st section of the piece maintains a single harmony, a tonic drone, as it were, until the very last bar; in this regard it perhaps alludes to music for the hurdy-gurdy or cornemuse. An aspect of the over-all form that is worthy of mention is the matter of repetitions. The general ‘rule’ is that dances are in ‘binary form’ with an interior cadence on the dominant or another closely related key, and that each of the 2 §s is marked with a repeat sign {which may or may not be obligatory}. The 1st ½ of this gaillarde ends with a repeat sign {https://youtu.be/K09skrh2dkc?t=46}, but the 2nd does not: instead, it moves directly to a petite reprise, i.e. a concluding repetition of the last few measures. This is not indicated by a sign {𝄋} a few bars before the final cadence, as would be expected. It’s possible that the repeat-sign for the 2nd ½ was omitted by mistake, and it would be easy for the player to correct this “mistake”, if that’s what it is. The harpsichord was tuned to a=~415Hz, in meantone. The plectra were crow quills. The allemande from this concert can be heard @ https://www.youtube.com/watch?v=ZRXU_KkBDz8 The courante is @ https://youtu.be/CG9C4D6kNpY The sarabande is here: https://youtu.be/ZXO89bzvslQ$

Magnificat Secundi Toni by Girolamo Frescobaldi recorded by Dale Carr in Firenze in 1989 @dalecarr6361