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Reimagining Historical Voices
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Tim Braithwaite
Pietro Pontio on the Performance of Syncopations (1588)
‘Nonetheless there are others who are of the opinion that half of the note value of the syncopated semibreve is deemed to be dead—whereby...
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Tim Braithwaite
Richard Wagner’s Description of his Musical Choices in his Edition of Palestrina’s ‘Stabat Mater’
‘I offer you namely my arrangement of the famous Stabat mater by Palestrina, in the original manuscript of which there were no expression...
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Tim Braithwaite
Fabio Orsini’s Manner of Recitation that was ‘not Completely that of one who is Reading’ (1488)
‘He then recited a heroic poem that he himself had previously written in honour of our Piero dei Medici. This [poem] was indeed his, and...
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
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...
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Tim Braithwaite
Leonardo da Vinci on the Throat and the Muscles of the Leg (1510-11)
A. Begin the anatomy at the head and finish it at the soles of the feet. Put in all the exits that the veins make in the flesh and their...
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
Tim Braithwaite
Gioseffo Zarlino on Those who Improvise Counterpoint with ‘No Regard for the Other Voices’ (1558)
‘What Must be Observed when Improvising a Third Part on Two Given Parts: Skilled contrapuntists occasionally want to improvise a third...
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Tim Braithwaite
Bovicelli on the Graceful Placement of Certain Syllables (1594):
‘As for the disposition of the words under the notes, it is necessary to take great care to set them so well, that not only no barbarism...
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
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...
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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...
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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...
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
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,...
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
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...
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Tim Braithwaite
Giovanni Bardi on the Ancient and Modern Methods of Singing Different Modes (c.1578)
‘It should be noted that the [ancient] tonoi were not sung as we do [ours], that is, the bass [singer] intones re or ut or some other...
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
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...
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Tim Braithwaite
Cardinal Domenico Capranica (1400-1458) on the singers of Pope Nicholas V
‘In honour of immortal God, the Supreme Pontiff Nicholas V filled the most sumptuous sanctuary that he had erected among the papal courts...
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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
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
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
Adriano Banchieri on Cacophonous (!) Counterpoint
‘In Rome...while singing [extempore] counterpoint, in the mind (alla mente) above the bass, nobody does that which his partner sings, but...
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