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Reimagining Historical Voices
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Tim Braithwaite
W.H Auden’s Metalogue to The Magic Flute 1956
Relax, Maestro, put your baton down; Only the fogiest of the old will frown If you the trials of the Prince prorogue To let Sarastro...
Tim Braithwaite
Charles Burney on the Singing in the Convent of Santa Maria Maddalena in Milan
Sunday, July 22… It was by far the best singing, in every respect, that I had heard since my arrival in Italy; where there is so much,...
Tim Braithwaite
Charles Burney on the ‘Vulgar and Ordinary’ Singing in Leipzig during the 1770s
The next morning, September 25, M. Hiller was so obliging as to conduct me to the play-house, where one of his comic operas was...
Tim Braithwaite
The Twenty Tests for Applicants for the Post of Choirmaster at Toledo Cathedral in 1604
'[Improvise] free [suelto] counterpoint on a plainsong in the bass, as well as concerted [counterpoint], showing two voices on the...
Tim Braithwaite
Florido Tomeoni on the Dangers of the French Way of Singing (1799)
‘… The unearthly efforts required by the French method wear out their [the singers’] voices even before they can appear on stage, and the...
Tim Braithwaite
Wolfgang Printz on the Behaviour of Choirs (1678)
‘The Praefectus (director of the choir) should also take special care that none of the singers shout excessively. Not only does it sound...
Tim Braithwaite
Lorenzo Penna’s Advice for Singing Canto Figurato (1672):
'Sometimes the composition, particularly in the capella, is made up of half and whole notes, that is to say, of one or more beats, which...
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...
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