@dalecarr6361

@dalecarr6361

Dale Carr | Suite in F major : Courante, by Louis Couperin {~1626-1661} performed by Dale Carr on 25 April, 1987 @dalecarr6361 | Uploaded May 2024 | Updated October 2024, 1 hour ago.
Suite in F major : Courante, 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 several choices for the courante 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 of the most intriguing aspects of Couperin's courantes is the complex rhythmic divisions within each measure ; the accents in one voice often contradict those in another. This is not indicated by accent marks, but becomes clear when studying individual voices in relation to the harmony. The triple meter offers ample opportunity for rhythmic variation: to give a simple example, one voice may be divided into 3+3 beats, and another into 2+2+2, or 3+1+2.

The harpsichord was tuned to a=~415Hz, in meantone. The plectra were crow quills.

Tha allemande from this concert can be heard @ youtube.com/watch?v=ZRXU_KkBDz8

$Suite in F major : Courante, by Louis Couperin {~1626-1661} performed by Dale Carr on 25 April, 1987 Suite in F major : Courante, by Louis Couperin {~1626-1661} ; performed by Dale Carr in the church in Middelbert {Groningen} on 25 April, 1987, on a harpsichord made by Hendrik Broekman in 1975 The Bauyn MS. contains several choices for the courante of the F-major suite; the general opinion is that the player may choose which and how many of each dance type to play, and that the allemande, courante, sarabande, & chaconne or passacaglia are generally included, though other types may well be omitted. One of the most intriguing aspects of Couperins courantes is the complex rhythmic divisions within each measure ; the accents in one voice often contradict those in another. This is not indicated by accent marks, but becomes clear when studying individual voices in relation to the harmony. The triple meter offers ample opportunity for rhythmic variation: to give a simple example, one voice may be divided into 3+3 beats, and another into 2+2+2, or 3+1+2. The harpsichord was tuned to a=~415Hz, in meantone. The plectra were crow quills. Tha allemande from this concert can be heard @ https://www.youtube.com/watch?v=ZRXU_KkBDz8$

Prélude non mesuré in F major by Louis Couperin performed by Dale Carr on 17 October, 1972

Flow, my Teares by John Dowland {~1563 - 1626} ; a short study

Fuga sopra il Magnificat pro Organo pleno con Pedale, BWV733, by Johann Sebastian Bach

Lyke as the dolefull dove, by Thomas Tallis, played by Dale Carr on the organ in Krewerd in 1984

$Fuga sopra il Magnificat, BWV733, by Bach, performed by Dale Carr on the organ in Noordbroek Fuga sopra il Magnificat, pro Organo pleno con Pedale, BWV733 by Johann Sebastian Bach, performed by Dale Carr on the Schnitger organ {1696} in Noordbroek {province of Groningen} on 7 May, 1996 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 entries of the subject in the score. The harmony is rich and clear without straying far from the tonal center of d minor; in fact, the piece sounds very good in meantone tuning. Arp Schitgers organ in Noordbroek is one of the best preserved instruments of this builder. This is in large part a result of the fact that it has not been restored, but only adjusted in smaller details, in recent years. It is an unfortunate fact that so-called restorations often result in a degradation of not only the sound quality of the instrument but also the instruments authority as a document of its own history, the history of its builders work, and of organ building in general. Ill refrain from offering examples.... But even only as an instrument for playing organ music, the organ in Noordbroek is fantastic. The acoustics are, as always, responsible for a good share of what the listener hears ; here, their contribution is only positive. There is considerable reverberation, but it does not make the sound muddy or indistinct, as in some other churches. The plenum of the Hoofdwerk could be considered the touchstone of any organ; here the sound is full, even exciting, but always clear in polyphonic textures. I used the following registers: Hoofdwerk 8Pr.16.4O.3.M.Tr Pedal 16Ba.8Tr.4C The present state of the organ (2019): I Hoofdwerk C–c3 Praestant 8′ Fr Quintadeen 16′ H/E Holpijp 8′ S Octaaf 4′ S Speelfluit 4′ S Quint 3′ V/S Octaaf 2′ S Mixtuer IV–V 1′ S/H Trompet 8′ S Vox humana 8′ H II Rugpositief C–c3 Praestant 4′ Fr Fluit douce 8′ V/S/H Spitsfluit 4′ V/S/H Octaaf 2′ vO/E Sesquialter II–III 2⁄3 E Scherp III–IV 1⁄2 E Dulciaan 8′ H/E Pedaal C–d1 Praestant 8′ Fr Bourdon 16′ S Gedekt 8′ Fr Octaaf 4′ S Bazuin 16′ S/Fr Trompet 8′ S/Fr Cornet 4′ S/Fr sliding coupler II/I (1810), pedal coupler (1855) Tremulant 3 check valves {disposition from https://en.wikipedia.org/wiki/Organ_at_the_Dorpskerk_at_Noordbroek }$

Tombeau de Mr. de Chambonnieres, Jean-Henri d’Anglebert, published in 1689 in his Pieces de Clavecin

Capriccio chromatico con ligature al contrario by Frescobaldi performed by Dale Carr on 21 June 1989

Two pieces by Girolamo Frescobaldi from Fiori musicali 1635 performed by Dale Carr on 4 July, 1989

Prélude non mesuré in d minor, by Louis Couperin {~1626 - 1661}, performed by Dale Carr

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

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

Suite in F major : Courante, by Louis Couperin {~1626-1661} performed by Dale Carr on 25 April, 1987 @dalecarr6361