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Reimagining Historical Voices
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Tim Braithwaite
Isaac Nathan’s Annotations on a Handel Aria and the Swelling and Dying of the Voice
‘The preceding examples receive their colouring from the discrimination of the singer; but a still nicer task remains for him to execute,...
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Tim Braithwaite
A Description of ‘The Honorable Entertainement Gieuen to the Queenes Maiestie’ in 1591
‘In the pinnace were three Virgins, which with their Cornets played Scottish Gigs, made three parts in one. There was also in the saide...
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
Tim Braithwaite
Giovanni Camillo Maffei on Those who ‘Sing the Bass, the Tenor, and any Other Part with Great Ease.’
‘Thus I say, that these voices are born from the matter of the tube [throat]; and by tube [throat] I mean all the parts mentioned above,...
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
Tim Braithwaite
Leopold von Sonnleithner Remembering in 1857 Johann Vogl’s Singing and Influence on Franz Schubert
‘Without a doubt, [Johann] Michael Vogl stands foremost among those who recognised and promoted Schubert’s genius early on. As far as...
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Tim Braithwaite
Sylvestro Ganassi on Imitating the ‘Galanteria’ of Singers Through a Trembling of the Fingers (1535)
‘...you would be compelled to be an imitator of the proficient and expert singer, and [this] would entail an instrumental performance...
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
Tim Braithwaite
Hieronymus de Moravia (late 13th century) on the use of Harmonic Flowers in Chant
‘The harmonic flower [flos harmonicus] is, however, an ornament of the voice or sound, and a very fast and storm-like vibration. Some...
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Tim Braithwaite
Thomas Robinson (1603) on ‘Passionate Play’
‘Now you shall have a general rule to grace it, as with passionate play, and relishing it: and note that the longer the time is of a...
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
Tim Braithwaite
John Arnold on Collective, Florid Psalm Singing (1761)
Of the Several Graces Used in Music: The first and most principle grace, necessary to be learned, is the trill or shake; that is, to move...
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
Tim Braithwaite
The Performance of Passaggi in Irregular Rhythms According to Lodovico Zacconi (1596)
‘All these things require aptitude, agility, and time, without which nothing can be achieved, and the singer, in using or adopting them...
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Tim Braithwaite
Luigi Zenobi on the Role of the Inner Voices in Polyphonic Singing (c.1600)
Since we’ve already seen Zenobi’s comments on the requirements for a soprano (https://www.cacophonyhistoricalsinging.com/post/luigi-zenob...
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Tim Braithwaite
Johann Quantz on ‘Allzuhäufigen Trillerns’
§6 ‘Some persons believe that they will appear learned if they crowd an Adagio with many graces, and twist them around in such fashion...
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Tim Braithwaite
Lascia Ch’io Pianga (as?) Sung by Signora Isabella in the Opera of Rinaldo
The extract below from William Babbel’s ‘Suits of the most Celebrated Lessons’ (1717) shows a transcription for keyboard of the famous...
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
Tim Braithwaite
Nicola Vicentino on Ensemble Ornamentation (1555)
‘Moreover, such diminutions should be used in [works for] more than four voices, because diminution always causes the loss of numerous...
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Tim Braithwaite
Wolfgang Mylius on Florid Ensemble Singing (1686)
'In such other florid ornaments which well-practiced singers use when singing solo, one has a lot of license and freedom, so that the...
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Tim Braithwaite
Brahms' Advice to Sir George Henschel
'Brahms arrived yesterday. I am glad my hoarseness is gradually disappearing, for the thought of singing, at the concert day after ...
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