Silvia Kind: Neupert harpsichord (Bach-model)
Instrument not mentioned in the documentation.
Released 1968 by Turnabout Vox, New York 34200 (London release 1969)
Thanks to Daniël, who let me browse the famous Daniël Beuman harpsichord collection

TABLE OF CONTENTS
SIDE I (23’33)
00:00 1. WILLIAM BYRD (1543-1623) “The Carman’s Whistle” (4’54)
04:52 2. JOHN MUNDAY ( ? -1630) “Fantasia” (4’18)
09:10 3. MARTIN PEERSON (1572-1650) “The Primerose” “The Fall of the Leafe” (3’35)
12:44 4. ANONYMOUS “Muscadin” (1’00)
13:46 5. WILLIAM BYRD (1543-1623) “The Bells” (5’32)
19:18 6. DR. JOHN BULL (c. 1562-1628) “The King’s Hunt” (3’57 )

SIDE II (19’14)
WILLIAM BYRD ”THE BATTELL”
23:22 The Marche before the Battell
26:03 The Soldiers Sommons
27:04 The Marche of the footmen
28:01 The Marche of the horsmen
29:09 The Trumpetts
30:14 The Irish Marche
31:42 The Bagpipe and the Drone
33:37 The Flute and the Droome
34:45 The Marche to the Fighte
36:56 The Retreat
37:37 The Galliarde for the Victorie
39:37 The Soldiers Dance
40:23 The Burying of the Dead

Most so-called baroque concert programs today
have little to do with the Baroque· as we understand
it -in terms of art and architecture. Musical
selections are taken from the middle and end of
the 18th century; however, the majestic baroque
church “Del Jesu” in Rome was built in 1567, and
the word “baroque” itself means “grand gesture,”
“splendor,” and it is recognized so in terms of
paintings, architecture, sculpture and poetry.
Should baroque music therefore be denied any of
this great breadth?
Throughout the world of the harpsichord, there
is a streak of puritanism, but one cannot separate
passion and exuberance from the word baroque.
Is it correct to interpret baroque music literally?
No. A literal interpretation would be an adulteration.
Baroque music is based firmly on the rubato
principle. Rubare means “to rob.” Whatever one
robs from one place one must give to another in
order to maintain the rhythmic balance. That is
the idea behind J eu inegal, which was already described
in the 16th century as a tradition in Spain,
and used by the Italians and French. J eu inegal
is a hardly noticeable rhythmic punctuation of
notes of equal value written . down in scales of
. eighth-notes. The Italians ,preferred the Jambus
(Lombard rhythm), the French the Trochaeus.
When they wanted the eighth-notes played in regular
rhythm, they wrote down mesure.
Another example of Baroque rhythmic variation
appears in the French overture: a scale
written down in sixteenth-notes fs begun later than
it appears on the printed page, and in order to
catch up with the other parts races to the end in
thirty-second notes. This old virtuoso trick was
required by Frescobaldi in the 17th century, and
by Quantz in the 18th.
In more contemporary music rhythmic variations
were customary as well. F~r example, in the
waltz, although the 3/ 4 time indicates three solid
beats to a measure, it cannot be properly danced
unless the second beat is rushed slightly and the
third is held. Important · in the interpretation of
baroque music are the appoggiaturas – mostly
not written down -, dissonant petites notes perdues,
dispersed either ascending or descend:i g between
notes of the melody. ‘ .
There is a clue to the performance practice- of
appoggiaturas in Traite de La Viole, a 1697 treatise
by Jean (not Jean-Jacques) Rousseau. He writes:
a) Appoggiatura: In pieces meant to express
something terrible or frightful, the appoggiatura
has to be performed in a rash’ and
flamboyant manner.
b) Trill: In tender and languishing airs, the
trill must be performed caressingly, and in
gay airs it must be lively.
The different embellishments used throughout
the history of music have always depended

#Neupert #SilviaKind