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Reimagining Historical Voices
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Tim Braithwaite
Emma Calvé on the ‘Fourth Voice’ Taught to her by Domenico Mustafa (1922)
‘During my sojourn in the Holy City, I often went to hear the choir of the Sistine Chapel, which was at that time under the direction of...
Tim Braithwaite
A Reminder that Englishmen, when Moved, do not Tremble! (1917)
‘Our quarrel with excess of tremolo is twofold. When passion is simulated by tremor, it is forgotten that an Englishman, when he is...
Tim Braithwaite
Dame Clara Butt on Silent Practice and Vocal Rest (1912)
'Here is another point which beginners should take to heart, and follow as far as they are able. Try to avoid over-anxiety. Students...
Tim Braithwaite
Some Conclusions on Early Recording Technology and the Role of Historical Vocal Pedagogy
'While this study has shown that the wax cylinder phonograph system significantly alters spectral measurements of the voice output...
Tim Braithwaite
Anton Schindler’s Surprise at a Performance of a Bach Motet at Leipzig’s Thomasschule (1843)
‘At 5 o'clock I attended a rehearsal at the Thomas School. The cantor Hauptmann had the grand double-choir motet (by Bach) Singet dem...
Tim Braithwaite
The Affective use of Timbre According to Garcia and Demonstrated by Fernando de Lucia (1902)
‘A few trials will suffice to prove that every shade of passion, however slight, will effect in a peculiar way the physical condition,...
Tim Braithwaite
A Fanciful Description of Palestrina Conducting his Missa Papae Marcelli from 1912
‘How often may the master [Palestrina] himself have conducted it [the Missa Papae Marcelli] with sublime enthusiasm, full of the fire...
Tim Braithwaite
Lilli Lehmann on the Benefits of the Great Scale, ‘the Guardian Angel of the Voice’ (1902/1914)
‘The great scale, properly elaborated in practice, accomplishes wonders: it equalizes the voice, makes it flexible and noble, gives...
Tim Braithwaite
Roger Freitas on Modern Representations of Historical Singing:
‘To many in the singing profession, in fact, an investigation of past approaches seems irrelevant. Even a casual survey of recent...
Tim Braithwaite
A Story ‘From the Lips of the Maestro’ on Early Nineteenth-Century Ornamentation
‘Among the old musicians it used to be customary to write a mere outline or suggestion of the voice part. Particularly was this the case...
Tim Braithwaite
Franz Haböck's Description of Alessandro Moreschi's Singing (1913)
‘If one wants to describe the sensuous impression of a voice, one says, of course, that the organ has a golden or a silvery sound, that...
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