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Kenneth Weiss|A Cleare Day - Pieces from the Fitzwilliam Virginial Book

A Cleare Day - Pieces from the Fitzwilliam Virginial Book

Kenneth Weiss

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Langue disponible : anglais

The Fitzwilliam Virginal Book is a collection of about 300 keyboard works from either side of the year 1600. It is of unknown provenance (it was named for a later owner), but it is unparalleled as a source of Renaissance keyboard music from England and even beyond. There are various single-album sets of selections from the book on the market, but this live recording (minus crowd noise) by American-French keyboardist Kenneth Weiss stands out in several ways. First of all, Weiss uses three instruments, all copies of period pieces: an Italian virginal (a virginal is a sort of portable tabletop harpsichord with single horizontal strings for each note), a Flemish harpsichord, and an Italian harpsichord. This is reasonable, for the word "virginal" to Queen Elizabeth I, its most famous player, would have meant any keyboard instruments, and harpsichords of both types would have circulated in England at the time. The variation in timbre adds a lot to the album, with the resonant, thick sound of the Flemish harpsichord effectively set off against the brighter, clearer Italian instrument. Quarter-comma meantone tuning is used for all three instruments. The biggest attraction is the program, which combines famous works (Byrd's setting of Dowland's ubiquitous Pavana Lachrymae, track 2) with some that are very rarely recorded. In the latter group would be the opening title track, a programmatic fantasia encompassing no fewer than 12 changes in the weather. This both works well with other more or less representational pieces (a genre generally neglected in performances of music from this period) and helps create enough variety and drama to balance the major virtuoso showpiece, John Bull's Walsingham (track 14), a work that can stand with anything else from the Renaissance era. The program includes dances and variations as well as a few unclassifiable pieces like Giles Farnaby's Woody-Cock and the little Why aske you? (track 5), a delightful piece that combines aspects of ground bass, variation, and song. Weiss matches instrument to music effectively and ends up with a swashbuckling Walsingham. Strongly recommended for everyone from lovers of Renaissance keyboard music to those looking for a fine exploration of this basic Renaissance repertory item.
© TiVo

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A Cleare Day - Pieces from the Fitzwilliam Virginial Book

Kenneth Weiss

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Fantasia (John Munday)

1
Fantasia: Faire Wether, Lightning, Thunder, Calme Wether, Lightning, Thunder, Faire Wether, Lightning, Thunder, Faire Wether, Lightning, Thunder, A cleare Day
00:03:56

Kenneth Weiss, MainArtist - John Munday, Composer

(C) 2011 Satirino Records (P) 2011 Satirino Records

Pavana Lachrymae (John Dowland)

2
Pavana Lachrymae
00:05:31

John Dowland, Composer - William BYRD, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Galliard (William Byrd)

3
Galliard
00:01:28

William BYRD, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Amarilli di Julio Romano (Peter Philips)

4
Amarilli di Julio Romano
00:03:29

Peter Philips, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Why Aske You (Anonymous)

5
Why Aske You
00:01:10

Anonymous, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Wooddy-Cock (Giles Farnaby)

6
Wooddy-Cock
00:06:43

Giles Farnaby, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Pavana (Orlando Gibbons)

7
Pavana
00:02:46

Orlando Gibbons, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

The Woods so Wild (William Byrd)

8
The Woods so Wild
00:03:55

William BYRD, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

The Fall of the Leafe (Martin Peerson)

9
The Fall of the Leafe
00:01:56

Martin PEERSON, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Barafostus Dreame (Thomas Tomkins)

10
Barafostus Dreame
00:05:35

Thomas Tomkins, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

The Queenes Alman (William Byrd)

11
The Queenes Alman
00:03:03

William BYRD, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Pavana-Variation (Ferdinando Richardson)

12
Pavana-Variation
00:04:41

Kenneth Weiss, MainArtist - Ferdinando Richardson, Composer

(C) 2011 Satirino Records (P) 2011 Satirino Records

Galliarda-Variation (Ferdinando Richardson)

13
Galliarda-Variation
00:03:13

Kenneth Weiss, MainArtist - Ferdinando Richardson, Composer

(C) 2011 Satirino Records (P) 2011 Satirino Records

Walsingham (John Bull)

14
Walsingham
00:16:05

John Bull, Composer - Kenneth Weiss, MainArtist

(C) 2011 Satirino Records (P) 2011 Satirino Records

Chronique

The Fitzwilliam Virginal Book is a collection of about 300 keyboard works from either side of the year 1600. It is of unknown provenance (it was named for a later owner), but it is unparalleled as a source of Renaissance keyboard music from England and even beyond. There are various single-album sets of selections from the book on the market, but this live recording (minus crowd noise) by American-French keyboardist Kenneth Weiss stands out in several ways. First of all, Weiss uses three instruments, all copies of period pieces: an Italian virginal (a virginal is a sort of portable tabletop harpsichord with single horizontal strings for each note), a Flemish harpsichord, and an Italian harpsichord. This is reasonable, for the word "virginal" to Queen Elizabeth I, its most famous player, would have meant any keyboard instruments, and harpsichords of both types would have circulated in England at the time. The variation in timbre adds a lot to the album, with the resonant, thick sound of the Flemish harpsichord effectively set off against the brighter, clearer Italian instrument. Quarter-comma meantone tuning is used for all three instruments. The biggest attraction is the program, which combines famous works (Byrd's setting of Dowland's ubiquitous Pavana Lachrymae, track 2) with some that are very rarely recorded. In the latter group would be the opening title track, a programmatic fantasia encompassing no fewer than 12 changes in the weather. This both works well with other more or less representational pieces (a genre generally neglected in performances of music from this period) and helps create enough variety and drama to balance the major virtuoso showpiece, John Bull's Walsingham (track 14), a work that can stand with anything else from the Renaissance era. The program includes dances and variations as well as a few unclassifiable pieces like Giles Farnaby's Woody-Cock and the little Why aske you? (track 5), a delightful piece that combines aspects of ground bass, variation, and song. Weiss matches instrument to music effectively and ends up with a swashbuckling Walsingham. Strongly recommended for everyone from lovers of Renaissance keyboard music to those looking for a fine exploration of this basic Renaissance repertory item.
© TiVo

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