Gustav Leonhardt (harpsichord) Englische Virginalisten
Harpsichord by Johannes Ruckers , Antwerpen 1640

Recorded 1968 under the supervision of Dr. Alfred Krings at Schloss Ahaus (Westfalen), Germany. Technique by Sonopress.
Released 1968/1969 (?) label Hrmonia Mundi /BASF Stereo 25 20308– German pressing, 1 disc : 33 1/3 rpm, stereo. ; 12 inch
Liner notes by Wulf Arlt
Picture of the cover: Godert de Wedige (1583-1641) Hausmusik (Walleaf-Richartz-Museum, Köln, Germany).

Seite A
00:00 THOMAS TOMKINS (1572-1656) Barafostus’ Dream
06:17 JOHN BULL (c.1562-1628) The King’s Hunt
10:00 WILLIAM BYRD (1543-1623) Pavan und 15:47 Galliarde of Mr. Peter
18:17 ORLANDO GIBBONS (1583-1625) Fantasia in cl (Nr. 6)
19:36 ORLANDO GIBBONS Pavane in g (Nr. 16)

Seite B
25:24 WILLIAM BYRD Walsingham – Variationen
33:29 ORLANDO GIBBONS Fancy (Nr. 3) in d
34:23 GILES FARNABY (c.1566 c. after 1635) Maske in g
36:30 JOHN BULL Fantasia in d
42:59 JOHN BULL English Toy
44:25 ORLANDO GIBBONS Fantasia in dl

At the mention of old keyboard music, thoughts turn immediately
to the works of Francois Couperin, Johann Sebastian
Bach or Domenico Scarlatti. It is too easily forgotten that the
composers of the late baroque period in France, Germany
and ltaly could draw Írom a rich heritage, particularly from
the composers of the 16th centuÍy, who prepared the ground
Íor all later keyboard music. For the first time, during those
years, a keyboard music was written which could hold its
own, and be justifiably appreciated for its artistic merit,
which was equal to that oÍ instrumental music.
Numerous examples of compositions for keyed instruments
from the 14th and 15th centuries have been preserved. It is
almost impossible to understand the basic forms for instrumental
r6th century composition without taking older models
into consideration. However, these models were presented in
a new way, and used to serve the shaping of new art forms
and structures. During this process, creative principles of
vocal, or vocal-instrumental ensemble art forms were transferred
to keyboard music.
This development inÍluenced all forms of composition for
keyed instruments. Until well into the 17th century, a
division into organ and harpsichord music can be made only
according to the purpose for which the compositions weÍe
written, and sometimes according to the peculiarities of the
setting, but can hárdly ever be determined by the style oÍ
the music.
The connection with the past can be seen clearly from the
tabulatures. In the 16th century, as in the preceeding centuries,
the numeÍous compositions of the vocal and vocalinstrumental
category (the Canson) were originally written
with separate parts for each voice in the mensural notation
of those days. They were then transformed into a particular
kind of finger position writing, the tabulature, which was
devised for keyed instruments and the lute. As a rule, in this
pÍocess a more or less extended ornamentation was used
by applying the figures which arose from playing practice
and improvisation. This transfer into tabulature is in one
way a continuation of an older practice, in another way an
independent form of instrumental introduction or interlude,
as for example, the prelude and dance movements, which
show an advancement towards new forms. However, in the
development of keyboard music in the r5th and r6th centulies,
the imitative forms of composition, above all the
principle of variation, are of the greates importance. This
principle was used in its own right as a series of variations,
or sometimes bound with other forms, like the dance.
Unquestionably, England played an important part in the
development of keyboard music, in spite of the fact that the
largest part of the repertoire of English virginal music was
written during the second half of the 16th century and the
first half of the 17th century. Possibly the ground had allready
been prepared by the earlier English organ music and
the influence from the adavances made in the field of keyboard
music in other countries.
The compositions of these large handwritten collections were
not only written for the virginal, a rectangular plucked instrument,
but also for all kinds of keyed instruments. In certain
cases, the use for which these compositions were intended,
and the way in which they were composed point to the
organ.
As suggested in the title, the first printed collection of virginal music from the beginning of the 17thh century contained
compositions by three famous masters, William Byrd, Dr. John Bull and Orlando Gibbons. The works of these three masters can be taken as a representation of the music of Elizabethan England, in spite of the contrasts between their lives and work.

#Ruckers #GustavLeonhardt