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Reimagining Historical Voices
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Tosi on the Excesses of Modern (1723) Singers, and the Patience of the Waiting Orchestra
Ԥ 5. Every Air has (at least) three Cadences, that are all three final. Generally speaking, the Study of the Singers of the present...
Tim Braithwaite


Giovanni Bardi Discussing Good and Bad Singing in a Letter to Giulio Caccini (c.1578)
I become nauseated when I recall some singers I have heard, whether solo or accompanied by others, improvising on a choirbook, not caring...
Tim Braithwaite


Domenico Corri (1810) on the First Lesson and how to Sing Major/Minor Semitones
‘Progressive rules for daily practice proportioned to the age and ability of Pupils: The intention of this Exercise is to acquire the art...
Tim Braithwaite

Michael Praetorius on the Requirements of a Singer and Expected Vocal Ranges
‘Firstly, a singer must have a voice by nature, in which three requirements and three flaws are to be noted. The requirements are these:...
Tim Braithwaite


M. Garcia on the Decline of Singing Immediately Before the Golden Age of Commercial Recording (1894)
‘At the present day the acquirement of flexibility is not in great esteem, and were it not, perhaps, for the venerable Handel,...
Tim Braithwaite


A Letter From Saint-Évremond to a Monsieur Dery on ‘a mild operation’ to Retain his Youthful Voice
‘I would say to you, in an entirely insinuated way, that you must make yourself sweetened [adoucir] by a mild [legere] operation, which...
Tim Braithwaite


Thomas Coryat on Choral Performance Practice and a ‘supernaturall voice’ in Venice (1611)
‘Sometimes there sung sixeteene or twenty men together, having their master or moderator to keepe them in order ; and when they sung...
Tim Braithwaite


Joseph de Lalande's Comparison of French and Italian Register Usage
‘I have said that the tenor of the Italians was the haute-contre of the French; at least the tenors hardly differ if...
Tim Braithwaite


Comparing Tosi, Galliard, and Agricola on the Articulation of Passaggi
Tosi describes two main types of articulation for the performance of fast notes, the ‘marked’ (‘battuto’) and ‘glided’ (‘scivolo.’)
Tim Braithwaite


Joseph de Lalande on Italian Singing
The repugnance which the Italians have for strong and loud voices, such as our own baritones [basse-tailles] and even haute-contres...
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...
Tim Braithwaite
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