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Reimagining Historical Voices
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Tim Braithwaite
G. Batista Doni on the 'Plasma' of the Ancients in Modern Practice (1763)
'The Strascino [slide] (which is the continued plasma of the Ancients, and which is done by raising or lowering continuously the voice,...
Tim Braithwaite
Bottrigari on both Ensemble Ornamentation and ‘Odious’ (‘odiosa’) Improvised Counterpoint (1594)
‘[Alemanno Benelli:] But because of the presumptuous audacity of performers who try to invent passaggi, I will not say sometimes, but...
Tim Braithwaite
Thomas Morley on the Perils of Many Singers ‘Singing on a Plainsong.’
'As for singing upon a plainsong, it has been in times past in England, as every man knows, and is at this day in other places, the...
Tim Braithwaite
Giovanni Battista Martini on Singing ‘all’improvviso’ on a Cantus Firmus (1774):
'Among the compositions made above a cantus firmus by the masters of the art, those [made] above introits are unique, and are used...
Tim Braithwaite
Banchieri on Writing an Introit that Creates the Effect of Improvised Counterpoint in Many Voices
‘I have no doubt at all that the counterpoints above a cantus firmus from the introits by Constanzo Porta and Giovanni Matteo Asola,...
Tim Braithwaite
Adriano Banchieri’s ‘Hundred Passaggi’:
‘The hundred passaggi above, all having been printed in various works by modern authors, have been assembled with much study and...
Tim Braithwaite
Giovanni Bononcini on reading in all keys and clefs using a six note solmisation system (1678)
*Notes* - The system (c.1500-1800) is based on three overlapping ’hexachords’ of six syllables - do re mi fa sol la. - In order to change...
Tim Braithwaite
Domenico Corri on Larynx Height Rising and Falling with Pitch:
‘You may observe, that the different tones of the voice are produced by the different positions which the larynx assumes in its rising...
Tim Braithwaite
Charles Burney on the Students at the Conservatorio of S. Onofrio: Wednesday 31st October 1770
This morning I went with young Oliver to his conservatorio of S. Onofrio, and visited all the rooms, where the boys practice, sleep and...
Tim Braithwaite
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
Do Tosi and his commentators prefer too many or too few ornaments?
I was recently flicking through an instruction book aimed at teaching modern singers how to ornament eighteenth-century repertoire, and I...
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
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,...
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
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...
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...
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.’)
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