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Reimagining Historical Voices
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Tim Braithwaite
Charles Burney's Comments on a 'Bellowing' 'Coutertenor' in Paris on Thursday, 14th of June (1770)
‘At five o’clock I went to the Concert Spirituel, the only public amusement allowed on these great festivals. It is a grand concert...
Tim Braithwaite
Notker of St Gall's Letter Describing the Significative Letters
Notker sends greeting to brother Lantbert.
At your request, I have taken pains to explain as well as I could...
Tim Braithwaite
A nineteenth-century description of English choral performance, as recalled by lay clerk J.V. Cox
“Everything was done in the most florid style, viz., grace notes, cadenzas, 'shakes' (single, double, and triple), while time was...
Tim Braithwaite
Joseph de Lalande on Italian Singing
The repugnance which the Italians have for strong and loud voices, such as our own baritones [basse-tailles] and even haute-contres...
Tim Braithwaite
Johann Quantz on German Church Singing (1752)
‘What the German manner of singing was like in times past may still be perceived today from the singers in choirs...
Tim Braithwaite
Johannes Tinctoris on 'Counterpoint' and 'Res Facta' (1477)
‘Moreover, simple as much as diminished counterpoint is made in two ways, that is, either in writing or mentally. Counterpoint...
Tim Braithwaite
Franz Haböck's Description of Alessandro Moreschi's Singing (1913)
‘If one wants to describe the sensuous impression of a voice, one says, of course, that the organ has a golden or a silvery sound, that...
Tim Braithwaite
Jean-Antoine Berard on Larynx Height (1741)
‘Observation teaches us that the Larynx rises in its entirety with the high pitches, and that it descends with the low pitches...
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...
Tim Braithwaite
Desiderius Erasmus on Church Singing (1516)
‘Not content even with these things, we have brought into the churches some kind of laboursome and theatrical music...
Tim Braithwaite
Fermatas in Fifteenth-Century Polyphony: A Notated Cadenza
A Gloria from an unknown mass setting by Estienne Grossin. Check out the ossia cadenza!
Tim Braithwaite
Conrad Von Zabern's Thoughts on Singing High Notes
‘Another fault which is more obvious than the others is singing high notes with an unstintingly full and powerful voice...
Tim Braithwaite
Johann Petri on High Falsetto Singing
‘A certain soprano who was very skilled and excellent at singing in falsetto (but was not a castrato) once sang arias rising to an e’’’ ...
Tim Braithwaite
Luigi Zenobi’s Instructions for the Perfect Soprano (c.1600)
There remains the soprano, which is truly the ornament of all other parts, just as the bass is the foundation. The soprano...
Tim Braithwaite
John of Salisbury on Florid Singing (12th Century)
‘It pollutes the very practice of devotion that in the sight of God... by the debauchery of their wanton voices, by their self-display,...
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 ...
Tim Braithwaite
Anselm Bayley on Solfege and Registration
'In teaching solfaing let the master carefully instruct the scholar how to open his mouth that the tones may come forth freely without...
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