Recercar nono, con quattro soggetti by Girolamo Frescobaldi performed by Klaas Veltman in Oosthuizen @dalecarr6361

Dale Carr | Recercar nono, con quattro soggetti by Girolamo Frescobaldi performed by Klaas Veltman in Oosthuizen @dalecarr6361 | Uploaded February 2024 | Updated October 2024, 5 hours ago.
Recercar nono, con quattro soggetti by Girolamo Frescobaldi,
from his Recercari et Canzoni franzese [...] published in 1615,
performed by Klaas Veltman on the organ in Oosthuizen {NH}
on August 2, 1995

The organ is one of the most interesting in the Netherlands. It was built in 1521; that makes it also one of the oldest.
The registration used in this performance provides maximum clarity: only the 8' Principal.

Fantasia nona sopra trè soggetti, by Frescobaldi, performed by Dale Carr on 26 November, 2000.

Sarabande by Froberger in D Major, performed by Dale Carr on a harpsichord by Hendrik Broekman

$Toccata Quarta da sonarsi alla leuatione by Frescobaldi / Dale Carr in San Niccolò Oltrarno in 1989 Toccata Quarta Per lOrgano da sonarsi alla leuatione by Girolamo Frescobaldi {1583-1643} {from his Secondo Libro di Toccate [&c.], 1637} ; performed by Dale Carr on the organ {1581} of San Niccolò Oltrarno in Firenze on 21 June, 1989 The organ of San Niccolò Oltrarno was built by Dionigi Romani in 1581, restored & altered in 1683 & 1769, & most recently restored by Pier Paolo Donati in 1985. It has but one manual with principal registers on one windchest {ripieno} & subsidiary registers including the standard 4 flute on a second chest {concerto}. More info on the organ can be found @ https://it.wikibooks.org/wiki/Disposizioni_foniche_di_organi_a_canne/Italia/Toscana/Citt%C3%A0_metropolitana_di_Firenze/Firenze/Firenze Chiesa_di_San_Niccol%C3%B2_Oltrarno This performance used the 8 Principale. Other recordings of this organ are here: - https://www.youtube.com/watch?v=E7rQRLLofik - https://www.youtube.com/watch?v=FxSZRo4pBeI - https://www.youtube.com/watch?v=raaHBCvszs4 Other organ works of Frescobaldi: - https://www.youtube.com/watch?v=9hgHeRtupWA - https://www.youtube.com/watch?v=6IxQb3lKLUs - https://www.youtube.com/watch?v=wzhqj9yA2DU - https://www.youtube.com/watch?v=j3m1g8FzjwQ - https://www.youtube.com/watch?v=MzjBvec6 A - https://www.youtube.com/watch?v=5D1sJc9zdHI - https://www.youtube.com/watch?v=EZt-roCsVJE - https://www.youtube.com/watch?v=oQv96OhpVIU - https://www.youtube.com/watch?v=zoIaytgsuCw Harpsichord works of Frescobaldi: - https://www.youtube.com/watch?v=JCLJhe47Vf8 - https://www.youtube.com/watch?v=eFxK1xpVjfI - https://www.youtube.com/watch?v=oQv96OhpVIU - https://www.youtube.com/watch?v=Uovg_ZMKomQ$

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.$