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Cacophony!

Reimagining Historical Voices

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    Tim Braithwaite

    Luigi Zenobi on Ornamentation in the Bass and Singing to the Accompaniment of the Organ (c.1600)

    ’10… He who sings the bass, if he sings in company, is obliged to know how to keep his part firm, right, and secure: firm with regard to...

    Tim Braithwaite

    A Description of Luigi Lablache’s ‘Magnificent Organ’ and ‘Wonderful Feats of Execution’ (1839)

    The compass of Lablache’s voice is from G in the bass to E natural, embracing but 13 notes; but the timbre, power, and vibration of his...

    Tim Braithwaite

    Charles Villiers Stanford on Vibrato (1908)

    Signorine Guerrini and Pasqua, who took the parts of Mrs. Page and Mrs. Quickly respectively, were the best; next to them, Signorina...

    Tim Braithwaite

    ‘The Chorister’s Lament’ (14th Century)

    "Full of care I cower unbecomingly in the cloister. I look at and listen to my lesson like a lazy fellow. The singing of the C-sol-fa...

    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

    Metastasio's Views on Modern Singers Compared to the Singers of Antiquity (Vienna, April 25, 1770)

    ‘The theatres of the ancients were vast squares, ours are vessels of small dimensions. Hence, in order to be heard in them by the...

    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

    Charles Butler Complaining about the ‘Stentorian Vociferations’ of Choir Singers (1636)

    ‘First therefore let the whole choir endeavour to control their voices, so that the words may be clearly heard and understood by the...

    Tim Braithwaite

    A Recollection of Domenico Donzelli’s Singing in an 1829 Performance of Rossini’s Otello:

    On the occasion of this remarkable operatic event, the most accomplished tenore robusto of his times, Dozelli, was the Otello to...

    Tim Braithwaite

    A Satirical Conversation on the Obstruction of the ‘Free Course of the Voice’ (1774)

    ‘We discoursed upon the subject of Dr. Burney’s travels, of which he was a professed admirer; and mentioned with great approbation that...

    Tim Braithwaite

    An Anecdote Involving Handel and a 'Scoundrel' who Could not Sing at First Sight (1741/1784)

    ‘When Handel went through Chester, in his way to Ireland, this year 1741, I was at the Public-School in the city, and very well remember...

    Tim Braithwaite

    Descartes on the Performance of Metrically Important Beats (1618)

    'Few have understood, how this Measure can be exhibited to the ears without a percussion, or stroke, in Musick, very diminute and of many...

    Tim Braithwaite

    Luisa Tetrazzini on the Use of the Gramophone in Learning to Sing:

    Before leaving the subject of practising I should like to add a word as to the value of the gramophone to the intelligent student. This...

    Tim Braithwaite

    Sabbatini on Developing the Falsetto (1789)

    ‘Ten notes are said to be natural to every voice, because ordinarily all singers come to produce them with a voice that is said to be of...

    Tim Braithwaite

    Robert Gjerdingen on the Role of Solfeggi in Baroque Vocal Pedagogy

    ‘Although manuscript collections of solfeggi were centerpieces in the training of musicians in the days of Bach and Mozart, today the...

    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...

    Tim Braithwaite

    Georg Falck on the use of Extemporised Florid Ornaments and Trills in an Ensemble Setting (1688)

    ‘Although they are set only in the system of the cantus, these examples of accentus and variation of intervals can be used in the other...

    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

    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...

    Tim Braithwaite

    Two Comments on Ensemble Singing by Joan Albert Ban (1642)

    III. Diminution Diminution occurs when larger notes are broken into many parts by the smaller ones in motion. The which must not...

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