Voluntary in e for organ by Matthew Locke performed by Dale Carr in Noordbroek on 7 May, 1996 @dalecarr6361

Dale Carr | Voluntary in e for organ by Matthew Locke performed by Dale Carr in Noordbroek on 7 May, 1996 @dalecarr6361 | Uploaded February 2021 | Updated October 2024, 1 hour ago.
Voluntary in e for organ by Matthew Locke performed by Dale Carr in Noordbroek on 7 May, 1996

This voluntary is the first of 8 published in 1673 in Melothesia, which also contains rules for realizing figured baƒs and 6 suites for the harpsichord. Locke was "Composer in Ordinary to His Majesty, and organist of her Majesty's chapel" and was Purcell's predecessor as "composer in ordinary with fee for the violin to his Majesty".

Most English organ works of this period were called 'voluntary' unless a more specific title was appropriate; so I have adopted this title, though it's not in the original print.

Besides the suites and voluntaries for harpsichord and organ, Locke composed incomparable ensemble music for strings and for winds.

The performance used the 4' Spitsfluit of the Rückpositiv, with the tremulant.

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

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.$

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

$Toccata terza, da sonarsi alla leuatione, by Girolamo Frescobaldi, performed by Dale Carr in 1969 Toccata terza, Per l’organo da sonarsi alla leuatione, by Girolamo Frescobaldi {1583-1643}, from his 2nd book of toccatas &c. {Roma, 1637} ; performed by Dale Carr on the Christiaan Müller organ in the Waalse Kerk, Amsterdam in 1969 Frescobaldi’s ‘Secondo Libro di Toccate {&c.}’ contains 4 toccatas with the specification ‘per l’organo’: #3 & #4 are for the elevation of the mass, #5 & #6 have pedal parts consisting of long-held tones. This magnificent work makes use of several features common in elevation toccatas: - lombardic rhythms {short-long}, as at https://youtu.be/gsTJexHeU2M?t=52 ; - chromaticism, as at https://youtu.be/gsTJexHeU2M?t=220 ; - dissonant chords, as @ https://youtu.be/gsTJexHeU2M?t=377 ; - unexpected harmonies, as @ https://youtu.be/gsTJexHeU2M?t=242 ; - abrupt changes of flow; {several beats of 16ths followed by several beats of half-notes}, as @ https://youtu.be/gsTJexHeU2M?t=170 ; - obstinately long tones in the soprano voice, as @ https://youtu.be/gsTJexHeU2M?t=97 ; - a chromatic motive beginning with a 3rd, as @ https://youtu.be/gsTJexHeU2M?t=117 . There are also elements that occur much less frequently in Frescobaldi’s toccatas: - a subject treated formally with an exposition @ https://youtu.be/gsTJexHeU2M?t=117; - a direct quotation from another of Frescobaldi’s toccatas, #8 from this book, @ https://youtu.be/gsTJexHeU2M?t=88 . Christiaan Müller’s organ of 1734 in the Waalse Kerk in Amsterdam built on an organ from 1680. I used the 8’ Prestant of the Rugpositief, which has 2 pipes per key in the treble. I’m sorry that the sound quality of the recording does not flatter this wonderful instrument. It was made in the spring of 1969 using a portable reel-to-reel recorder with built-in mike. Actually, I’m surprised that it doesn’t sound worse ; I think, despite all, that the organ is easily recognizable. Other elevation toccatas by Frescobaldi: - https://www.youtube.com/watch?v=IeNp8IJ3IrY - https://www.youtube.com/watch?v=zoIaytgsuCw Other organ works by Frescobaldi: - https://www.youtube.com/watch?v=zoIaytgsuCw - https://www.youtube.com/watch?v=6IxQb3lKLUs - https://www.youtube.com/watch?v=wzhqj9yA2DU - https://www.youtube.com/watch?v=oQv96OhpVIU - https://www.youtube.com/watch?v=JCLJhe47Vf8 Harpsichord works of Frescobaldi: - https://www.youtube.com/watch?v=eFxK1xpVjfI - https://www.youtube.com/watch?v=Uovg_ZMKomQ$ $The Mulliner Book: 2 pieces performed by Dale Carr on the organ in Midwolde on 18 July, 1987 The Mulliner Book: 2 pieces: - When Gryping Griefes {Edwards} & - A Pavyon {Master Newman} Performed by Dale Carr on the organ in Midwolde {Westerkwartier} on 18 July, 1987 These pieces were copied by Thomas Mulliner, who was an organist at Corpus Christi College in Oxford, around the middle of the 16th century. The poem When gryping griefes was included in Richard Edwardss A Paradise of Dainty Devices (1st ed. published in 1576). It is not certain whether he also wrote the tune. The beginning of the verse was referred to by Shakespeare in Romeo and Juliet, Act IV Scene 5. When griping grief the heart doth wound, and doleful dumps the mind oppress, then music, with her silver sound, with speedy help doth lend redress. Of troubled minds for every sore, Sweet Music hath a salve therefore. The pavyon {111} https://youtu.be/gvuUP22EAwE?t=71 by Master Newman is in 4 sections, each repeated, and appears to come from the time before this dance form was standardized in 3 sections and generally coupled with a faster Galliard. Registrations: - When gryping griefes: 4 Prestant, 1½ Quint {treble} ; repeats without 1½ Quint; - Pavyon: 4 Prestant, 1½ Quint. More from the Mulliner Book here: - https://www.youtube.com/watch?v=s1DsUhz2ZcQ - https://www.youtube.com/watch?v=UovOyc8BrpE - https://www.youtube.com/watch?v=DI-VVsx7R_s More of the organ in Midwolde here: - https://www.youtube.com/watch?v=j3m1g8FzjwQ$ $Fantasia in a by Orlando Gibbons {1583-1625}, played by Dale Carr on the organ in Krewerd Fantasia in a by Orlando Gibbons {1583-1625} played by Dale Carr on the organ in Krewerd {prov. Groningen}, recorded in July of 1985 The organ in Krewerd is the grande dame of organs in the province of Groningen. It was built in 1531, according to a later text on the case, and is placed on the stone choir screen. Most of the pipes date from 1857 or before; the 8 Prestant & 2 Octaav used in this recording are original. They make an amazingly full sound, for just 2 stops. Manuaal (CDEFGA-c ’’’) 8 Prestant 8 Holpyp 4 Octaav 4 Fluyt 3 Quint 2 Octaav Sesquialtera Pedaal (CDEFGA-d) Aangehangen The Fantasia by Gibbons {1583-1625} is preserved in a notebook copied by Benjamin Cosyn. The subject of the 1st section is presented imitatively in 2 forms {re-fa-mi-re & mi-sol-fa-mi}, followed by a 2nd section with seemingly endless ascending scales. Theres more of Gibbons at https://www.youtube.com/watch?v=Ia6uX3Uyy2c and more of Krewerd at https://www.youtube.com/watch?v=G_HKDGBfP-I$

Christum wir sollen loben schon, BWV696, by Johann Sebastian Bach, performed by Dale Carr

$O Lamm Gottes unschuldig, BWV656, by J.S. Bach, performed by Dale Carr on the organ in Noordwolde O Lamm Gottes unschuldig, BWV656, from J.S. Bachs Leipziger Choräle performed by Dale Carr on the organ in Noordwolde {prov. Groningen} on 5 October, 1997 This chorale setting is one of Bachs longest; Schumanns description heavenly length, which he used in reference to Schuberts C-major symphony, is certainly applicable here as well. It is composed of 3 variations: the 1st two manualiter with the c.f. in the top voice & the middle voice, respectively, and the 3rd with the c.f. in the pedal {originally written on 2 staves with a P indication}. Here are some cues that may be useful to listeners hunting for a specific passage: - verse 1 begins @ 016 ; Hoofdwerk 8 Præstant, 4 Octaaf; - m. 56 verse 2 begins @ 313 ; Hoofdwerk 8 Præstant, 4 Octaaf; - m.104 verse 3 begins @ 627 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin; - m.122 verse 3, 2nd half [fanfare] begins @ 726 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur, 8 Trompet ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin; - m.133 verse 3 last line [chromatic] begins @ 807 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur, 8 Trompet ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin; - m.140 verse 3 [coda] begins @ 829 ; Hoofdwerk 8 Præstant, 4 Octaaf, Mixtuur, 8 Trompet ; Pedaal 8 Præstant, 4 Octaav, 16 Bazuin, Pedaalkoppel. The 1st 2 verses are relatively straightforward, in 3-voiced polyphony, without the special effects that characterize the final verse. The 1st has a countersubject, used also in inversion, which emphasizes the interval of a 6th that is prominent also in the 1st line of the chorale. The 2nd [313] has a new countersubject {e-a-g#-a and variants} which seems not to be closely related to the c.f. The 2nd verse concludes with a bridge of several measures [609] preparing the final verse, which begins [627] with a wonderful passage in invertible counterpoint above the c.f. in the pedals. Invertible counterpoint means that the voice-layers will fit in more than 1 vertical alignment. Here the top voice in what would otherwise be the repeat [657] of the 1st 2 lines of the chorale, is placed under the other 2 voices {which were above it, the 1st time through}. This verse continues [726] with a completely new motive, for which I added the trompet to the manual. Bach rarely specifies changes of registration and in fact rarely makes them easy, but here the change seems easy and natural to me. This line of the chorale concludes with a passage [807] of amazing polyphonic chromaticism ending on a C#-major chord: the harmonic climax of a piece in A major. The tuning of the organ in Noordwolde seems as if made to order for this passage: its excruciating, but never sounds out of tune. Unfortunately, the tuning was altered, i.e. made closer to equal temperament, during the most recent conservative restoration; I think that this was definitely neither conservative nor an improvement. In the final section [829] the c.f. is accompanied by scales in 8th-notes, ascending & descending, and the final note is prolonged to allow a satisfying harmonic resolution to the piece. Thanks to M.H. Timmer for the recording. Thanks to Jan Veltkamp for tuning before the concert. Thanks to Pieter Broere registration assistance & page-turning. Thanks to me for the ancient foto. Other performances @ Noordwolde are here: - https://www.youtube.com/watch?v=pZvA5UEBw1o - https://www.youtube.com/watch?v=N9idx8dQH7Q Other organ works of Bach are here: - https://www.youtube.com/watch?v=Jf5rwfk94C0 - https://www.youtube.com/watch?v=DDuEdj8QyLc - https://www.youtube.com/watch?v=dextJa7Ju-w - https://www.youtube.com/watch?v=0POd6NKZLDU - https://www.youtube.com/watch?v=r7vo7rkjeCI - https://www.youtube.com/watch?v=nX8vX-9Aw9s - https://www.youtube.com/watch?v=qDaIA3OEQzw - https://www.youtube.com/watch?v=sDfX_W6tPS4 - https://www.youtube.com/watch?v=fQ0oGc8N6lw$

In nomine by John Bull performed by Dale Carr on 25 April, 1987 on a harpsichord by Hendrik Broekman