Pavana Passinge Mesures [Nevell] by William Byrd played on a 45-note single manual harpsichord (1) скачать в хорошем качестве

Pavana Passinge Mesures [Nevell] by William Byrd played on a 45-note single manual harpsichord (1)

The two most extensive sets of variations on the Passamezzo Antico left to us are by William Byrd and Peter Phillips. This video starts a multi-part presentation of both composers' efforts with the progression. This video comprises the first three (of six) Pavan variations by Byrd. One of the most popular dances of the late renaissance was the passamezzo, for which there were two standard chord progressions, called, logically enough, New and Old (Nuovo and Antico). Both came into a late vogue with the English Virginalists, possibly starting with this wonderful version by William Byrd. The Antico progression is in Aeolian mode which, in this piece, comprises the chords G-min [1], F-maj [7], G-min [1], D-maj/min [5], B-flat-maj [3], F-maj [7], G-min [1], D-min/maj [5], with a final in G-maj [1]. This is a striking progression, far less fluid than the more modern writing that was then typical, especially the abrupt change, halfway through, from D-major to B-flat-major. (The song "Greensleeves" shares this archaism but with some softening of the juxtaposition.) Of Byrd's preserved keyboard music, those pieces contained within My Ladye Nevells Booke are reckoned to be least distant from his originals. This is the version used here. The Fitzwilliam Virginal Book has a somewhat defective reading. I consulted it occasionally for help with ficta but little else. The Pavan comprises six varied statements of the progression. Unlike much of the common practice of the time, no variation is confined to just one idea or gesture and there is a distinct lack of long garlands of running notes festooned over a harmonic or melodic armature. To be sure, Byrd includes these almost de rigueur features, but adds to his offerings a splendid and much more extensive display of his creativity and contrapuntal acumen. Perhaps the lack of a song tune to maintain served to free him to engage in a master class of keyboard polyphony. There is a playfulness in the succession of the different points he devises and elaborates or the melismas he chooses to spin, as well as all their varied affects. The instrument (Hendrik Broekman, 2007) is a Flemish single after Andreas Ruckers, 1640. It has the original disposition of 1x8', 1x4', with a split lute and the original range of 45 notes (C/E-c'''). The registration used for this piece is 1x8', 1x4'. Recorded September 21, 2025. The instrument is tuned in 1/5-comma mean-tone.