Keyboard Music Before 1700 (Routledge Studies in Musical by Alexander Silbiger

By Alexander Silbiger

Keyboard song earlier than 1700 starts off with an summary of the advance of keyboard track in Europe. Then, person chapters by way of famous specialists within the box conceal the main composers and repertory earlier than 1700 in England, France, Germany, the Netherlands, Italy, Spain and Portugal. New to this version is a bankruptcy on functionality perform by means of the editor, which addresses present matters within the interpretation and revival of this song.

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Extra info for Keyboard Music Before 1700 (Routledge Studies in Musical Genres)

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An unusually informative source is the inventory of musical instruments belonging to Henry VIII, made in 1547. ” There are double and single regals, double and single virginals, and just two clavichords relegated to the list of “Instruments of Soundrie Kindes” (clavichords seem to have been more common in the previous century). The “double” instruments had a more extended bass range (probably to C, as opposed to c or G). The regal was a small chamber organ, no doubt similar to the smaller instruments used in churches.

Redford was a resourceful composer, though he preferred to write in two or three parts rather than four. , in early sixteenth-century terms, “stopping” the diapason rank). Redford’s name was also associated with a particular technique of plainsong setting; the heading “with a meane” occurs often in the Mulliner Book (seeIll. ” The meane style involved a widely spaced three-part texture with the cantus firmus normally in the bass and the middle part divided between the hands; often the voices are quasi-canonic, with entries at the octave (in Ex.

Before we turn to a fuller account of Byrd, it remains briefly to consider the secular keyboard tradition of the midcentury, as represented by the Dublin Virginal Manuscript of c. 1570 and a few other fragmentary sources. 6. Preston, Beatus Laurentius character of almans and corantos. Continental influences are apparent in settings of Franco/Flemish dance tunes, such as No. 15, the [Almande du Prince] published by Susato in 1551, and in the use of the Italian grounds passamezzo antico (Nos. 1–2) and romanesca (No.

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