Harpsichord· Carlo Grimaldi, Messina 1697 (Sammlung historischer Musikinstrumente Dr. Dr. h. c. Ulrich Ruck im Germanischen Nationalmuseum, Nurnberg)
Double virginal: Martinus van der Biest, Antwerpen 1580 (Germanisches Nationalmuseum, Nurnberg)
The pieces marked with an asterisk are performed on the virginal.
The relationship of sound level between the harpsichord and the virginal on this recording preserves the natural difference in volume between these instruments.
Illustration on the title page: Das Doppelvirginal von Martinus van der Biest, Germanisches Nationalmuseum, Nürnberg
Released 1978 by Polydor International GmbH, Archiv Production order number 2533 379
Design: Elke Neug-Burghoff· Redaktion: Barbara Schwendowius
Printed in West Germany by Miinstermann-Druck, Hannover

Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection.

Side 1 (28’16)
00:00 William Byrd (ca. 1543-1623) Prelude 0’36, Musica Britannica (MB), London 1951 ff. (Stainer & Bell), XXVII no. 1
00:37 ——————– Passamezzo Pavan 6’07, MB- XXVII no. 2 a
06:45 ———————Passamezzo Galliard 5’09, MB XXVII no. 2 b (As Henry Bertolucci commented, a few bars are missing here because —————————— the condition of a particular part of this track could not be repaired in any way).
12:01 Giles Farnaby (ca. 1560-ca. 1620) * Why Ask You 2’14, MB XXIV no. 39 (virginal)
14:17 John Bull (1562-1628) * Why Ask You 4’29, MB XIX nos. 62 & 63 (virginal)
18:50 Orlando Gibbons (1583-1625) Pavan 6’25 MB XX no. 15
25:16 —————————-Galliard 2’50 MB XX no. 22

Side 2 (23’56)
28:20 John Bull Prelude 0’45 MB XIX no. 82
29:07 —————-Chromatic Pavan (Queen Elizabeth’s) 5’41 MB XIX no. 87 a
34:46 —————-Chromatic Galliard 3’29 MB XIX no. 87 b
38:19 William Byrd ” The Hunt’s Up 7’13 MB XXVII no. 40 (virginal)
45:35 Thomas Tomkins (1572-1656) Pavan 4’31MB V no. 45
50:09 —————————- The Hunting Galliard 2’00 MB V no. 58

Cembalo / harpsichord / clavecin:
Carlo Grimald i, Messina 1697 (Sammlung historischer Musikinstrumente Dr. Dr. h. c. Ulrich Riick
im Germanischen Nationalmuseum, Niirnberg)
Umfang’ GI-C3 ohne GiSt. Disposition, 8′ 8′. Restauriert von Otto Marx/Pianohaus Riick. Neue Besaitung
erfolgte im Germanischen Nationalmuseum (durchgehender Messingbezug). .
Compass, GI-C3 without G #1′ Disposition: 2 unisons. Restoration by Otto Marx/Riick Pianos. Completely
re-strung with brass stringing in the Germanisches Nationalmuseum, Nuremberg.
Etendue: sol-t_ut6, sans sol diese- t. Disposition, 8′ 8′. Restaun~ par Otto Marx/Pianohaus Riick. Recordage
effectue au Germanisches Nationalmuseum de Nuremberg (rev&tement complet de laiton).

Doppelvirginal/ double virginal/virginal double:
Martinus van der Biest, Antwerpen 1580 (Germanisches Nationalmuseum, Nürnberg)
Disposition, 1. Virginal 8′, 2. Virginal (Ottavino) 4′. Urspriing!icher Umfang Hir beide: C/E- c3 (kurze Bassoktave).
Erweiterung im 18 . Jh. auf C-c3 (vollstandige Bassoktave). 1962 restauriert von Otto Marx/Pianohaus Riick.
Disposition: 1st virginal 8-foot, 2nd virginal (ottavino) 4-foot. Original compass of both: C/E- c3 (short octave in the bass). In the 18th century, extension to C-c3 (bass octave complete). 1962 restoration by Otto Marx/Riick Pianos.

#Virginal #CarloGrimaldi #MartinusVanDerBiest #ColinTilney