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(Historically Informed Performance) & The Flow.Zone </h2> </div> <a href="https://andrewlawrenceking.com/" rel="home"> <img id="header-image" src="https://andrewlawrenceking.com/wp-content/uploads/2013/08/copy-alk-huete-small2.png" width="269" height="252" alt="" /> </a> </header> <div id="main"> <div id="primary"> <div id="content" role="main"> <nav id="nav-above"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/" rel="prev"><span class="meta-nav">←</span> Monteverdi, Caccini & Jazz</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/" rel="next">Text, Rhythm, Action! Research, Training & Performance <span class="meta-nav">→</span></a></div> </nav> <article id="post-1351" class="post-1351 post type-post status-publish format-standard hentry category-history-of-emotions category-italian-baroque-harp category-moving-the-passions category-rhetoric category-rhythm tag-baroque tag-baroque-music tag-continuo tag-early-harp tag-early-music tag-emotions tag-expression tag-harp tag-hip tag-history-of-emotions tag-muovere-gli-affetti tag-musica-recitativo tag-ornamentation tag-phrasing tag-rhythm tag-seicento tag-tactus"> <header class="entry-header"> <h1 class="entry-title">Frescobaldi Rules, OK?</h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/#comments">15</a></p> </header> <div class="entry-content"> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg"><img data-attachment-id="1352" data-permalink="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/frescobaldi/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg" data-orig-size="477,599" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Frescobaldi" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg?w=239" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg?w=440" class="alignnone size-full wp-image-1352" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg?w=440&h=553" alt="Frescobaldi" width="440" height="553" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg?w=440&h=553 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg?w=119&h=150 119w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg?w=239&h=300 239w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/frescobaldi.jpg 477w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Frescobaldi’s Preface to his 1615 collection of <em>Toccate & Partite</em>, transcribed at Early Music Sources <a href="http://www.meantone.altervista.org/frescobaldi_II.htm" target="_blank" rel="noopener">here</a>, is often cited in discussions of rhythm and tempo in early 17th-century music, but one less often encounters more profound analysis of what he actually wrote. The flowery script of the original isn’t easy to read and it’s been removed from IMSLP, but there is another transcription <a href="http://storiadellamusicafiore.com/2012/04/14/frescobaldi-avvertimento-al-lettore/" target="_blank" rel="noopener">here</a> (along with many other interesting historical source materials). Since Frescobaldi compares his style to concerted vocal/instrumental music, his Rules are relevant to ensemble situations well beyond solo keyboard-playing. Nevertheless, we should be cautious: precisely <em>where</em> and <em>when </em>can we apply the Frescobaldi Rules? Just <em>how</em> do they work in practice?</p> <h3>Frescobaldi – NOT!</h3> <p>All too frequently, we are told that “Frescobaldi says you can change the Tactus, so you can do anything that you like”. This is not only an over-simplification, but a gross distortion: Frescobaldi specifies very particular genres, situations and ways in which the Tactus might be changed. More insidiously, it implies that we can ignore the context within which Frescobaldi offered his carefully worded advice. If we replace Frescobaldi’s underlying principles with an unexamined assumption of 20th-century rubato, it is highly likely that we will misconstrue his instructions.</p> <h3>Toccatas and Recitative</h3> <p>Some Historically Informed musicians have compared the Frescobaldian <em>toccata </em>to Recitative. This is a thoughtful contribution, that usefully reminds us of the importance of vocal music, and by implication, Text, to this instrumental genre. But sometimes the argument is presented thus: “Frescobaldi’s <em>toccate</em> are like recitatives. Recitative is the most expressive genre of music. Expression demands rhythmic freedom. Therefore both <em>toccate</em> and Recitatives are rhythmically free”.</p> <div>Every step of that argument is problematic. Frescobaldi does not mention Recitative. Circa 1600, the word Recitative was rarely used to denote the new style that we know from the first ‘operas’. See F. W. Sternfeld, ‘A Note on Stile Recitativo’, Proceedings of the Royal Musical Association 110 (1983-1984) 41-44. [This article is not openly available online, but please contact me if you can’t find it via your library]. And when the word Recitative is used, it means something different.</div> <div></div> <div><em>Recitare </em>means ‘to act’ whether in a spoken play, a sung opera, or in silent pantomime. See <em>Il Corago</em>, <a href="http://www.olschki.it/libro/9788822231765" target="_blank" rel="noopener">here</a>. <em>Musica recitativa</em> thus means ‘acted music’, dramatic music: it can include <em>aria</em>, which in this period means a<span style="text-decoration:underline;">n</span>y repeated unit in text, rhythm of music. So the line ‘A horse, a horse, my kingdom for a horse!’ is, in 17th-century terms, an <em>aria </em>within a <em>recitative</em>. (See <em>Il Corago</em> again.)</div> <div></div> <div>What we (mistakenly) call ‘recitative’ today, speech-like melodic patterns over a slow-moving bass (as described by Peri in the Preface to <em>Euridice, </em>see my annotated translation <a href="https://andrewlawrenceking.com/2015/09/27/logical-captain-the-implications-of-peris-preface/" target="_blank" rel="noopener">here</a>) was called <em>modulatione </em>by Il Corago. Even the solo-plus-accompaniment texture of monody is rarely seen in the ‘expressive’ sections of <em>toccate</em>, where there is usually melodic interest in two upper parts, if not throughout the entire polyphonic texture.</div> <div></div> <div>So much for Frescobaldi and Recitative. Meanwhile, the baroque aim is not to ‘express’ the performer’s emotions, but to move the <span style="text-decoration:underline;">audience</span>‘s passions. A subtle, but vital distinction! And, contrary to received opinion, there is no assumption circa 1600 that recitative is free. See <em>The truth about Caccini’s ‘sprezzatura’</em> <a href="https://andrewlawrenceking.com/2015/01/25/play-it-again-sam-the-truth-about-caccinis-sprezzatura/" target="_blank" rel="noopener">here</a>.</div> <div></div> <div></div> <h3>Toccata & Continuo</h3> <div>Keyboard players sometimes draw parallels between the <em>toccate </em>and continuo realisation. This is another well-intentioned suggestion, that can be of use, if taken with caution. Frescobaldi’s famous injunction “not to leave the instrument empty”, but rather to fill out the sound with a rich arpeggio, certainly encourages continuo players to make their realisations sonorous and supportive. But other aspects of toccata style are not applicable to continuo realisation. Re-striking sustained notes and dissonances “as often as you like” would be intrusive, and is specifically contradicted by Peri – it would “make the course of speech stumble”. Many of the chord positions in the arpeggio sections are too high for use as continuo (many sources specify low register for continuo with added low octaves in the bass, and the ‘tuning A’ A440, A460 – whatever pitch you are using, the A in this octave – is a good rule-of-thumb upper limit for continuo realisation in this period). And as noted above, there is more polyphonic action in the <em>toccate</em> than would be appropriate for continuo, especially on harpsichord. Agazzari specifies that organ and harpsichord should play a simple, fundamental accompaniment, leaving “fun and counterpoints” for other instruments. See <em>What is continuo? </em><a href="https://andrewlawrenceking.com/2013/10/08/sparrow-flavoured-soup-or-what-is-continuo/">here</a>.</div> <div></div> <h3>Frescobaldi’s terminology</h3> <p> </p> <p>Frescobaldi repeatedly refers to <em>battuta</em>. This does not mean ‘bar’, as it does today, nor ‘beat’ in the sense of ‘the note on the third beat of bar two is F#’. Rather it refers to the renaissance concept of beating time, with a slow, steady down-and-up movement of the hand. I therefore translate <em>battuta </em>as Tactus. See <em>Rhythm, what really counts </em><a href="https://andrewlawrenceking.com/2013/09/08/rhythm-what-really-counts/">here</a>. But this <em>battuta = </em>Tactus was a philosophical principle, as much as a practical technique. Indeed, since the harpsichordist would have both hands occupied playing, no-one actually ‘beats time’ in a Frescobaldi <em>toccata</em>. The practice of beating time with the hand becomes a symbol for an abstract concept of a slow, steady measure that defines Time itself.</p> <p>In this pre-Newtonian age, the definition of Time is Aristotle’s: Time is a number of movement in respect of before and after. Time is not an Absolute, in the way that we today understand so well from Newton; rather it depends upon movement. The steadiness of the Tactus is therefore essential for the reliability of Time itself. The philosophy of <em>musica mondana </em>(the heavenly Music of the Spheres), <em>musica humana </em>(the harmonious nature of the human body) and <em>musica instrumentalis </em>(practical music-making, whether instrumental or vocal) implies that earthly music is a microcosm of the entire universe, moving in perfect steadiness by divine power, and that music-making is linked to human well-being. If the Tactus fails, the heavens may fall. If your pulse stops, the music also dies. The image of the cosmos being turned by the hand of God gave enormous authority to the concept of the Tactus-hand, beating time for music on earth.</p> <p>See Roger Mathew Grant’s <em>Beating Time and Measuring Music </em><a href="http://ukcatalogue.oup.com/product/9780199367283.do" target="_blank" rel="noopener">here</a>, and <em>A Baroque History of Time </em><a href="https://andrewlawrenceking.com/2014/11/23/a-baroque-history-of-time-stars-hearts-and-music/" target="_blank" rel="noopener">here</a>.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png"><img data-attachment-id="1344" data-permalink="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/dowland-above-all-things-original/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png" data-orig-size="567,423" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dowland Above all things original" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=440" class="alignnone size-full wp-image-1344" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=440&h=328" alt="Dowland Above all things original" width="440" height="328" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=440&h=328 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=150&h=112 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=300&h=224 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png 567w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>Changing the Tactus therefore has huge philosophical, even religious, implications. Frescobaldi therefore approaches the subject with extreme caution. So should we!</p> <p> </p> <p>Frescobaldi frequently mentions <em>passi</em>, referring to the contrasting sections of his <em>toccate. </em>The word <em>passo </em>means a step, e.g. a dance-step, or a metrical ‘foot’ in poetry, so a diversity of <em>passi</em> suggests contrasting rhythmic structures between one section and the next. This is the opposite of the early 17th-century meaning of <em>aria</em>: not a nice tune, but a regular structure, especially a consistent rhythmic structure. So whilst an <em>aria </em>maintains a particular rhythmic footprint, two different <em>passi</em> have two different musical ‘steps’. Combining the meaning of ‘step’ and ‘section’, I translate <em>passo</em> as ‘movement’.</p> <p><em>Affetto </em>means ’emotion’, or to use the 17th-century English term, passion. Characteristically, the passions (plural) are moved: there are changes from one <em>affetto </em>to another. In this period, the word was used almost interchangeably with <em>effetto</em>, literally ‘effect’, as in theatrical or film ‘special effects’. An <em>effetto </em>is an ‘effect’, a device that produces an emotional response, an <em>affetto. </em>See Caccini’s use of these interlinked words, <a href="https://andrewlawrenceking.com/2015/01/25/play-it-again-sam-the-truth-about-caccinis-sprezzatura/" target="_blank" rel="noopener">here</a>. I translate Frescobaldi’s <em>affetti </em>as ‘passionate effects’</p> <p><em>Cantabile</em> here means ‘vocal’, without any of the connotations of continuous legato, bad rhythm, vibrato, or anything else associated with the modern concept of ‘cantabile’.</p> <p>A <em>passaggio </em>is a run of fast notes – ‘passage-work’ in modern English. A <em>partita</em> is a set of variations – I leave this term, and <em>toccata</em>, itself untranslated.</p> <h3><strong>The Frescobaldi Rules</strong></h3> <blockquote><p>La maniera di sonare con affetti cantabili e con diversità, di passi</p> <p> </p></blockquote> <p>The style of playing with passionate vocal effects and with a diversity of movements.</p> <blockquote><p>Si ageuolano per mezzo della battuta</p></blockquote> <h5>Facilitated by means of the Tactus.</h5> <blockquote> <ol> <li>First; that this way of playing should not be subject to the Tactus, as we see applied in modern Madrigals, which (although they are difficult) are facilitated by means of the Tactus, beating it sometimes languidly, sometimes quickly, and even sustaining it in the air, according to their [the Madrigals’] passions, or the sense of the words.</li> </ol> </blockquote> <p>We should read ‘subject to’ in the context of renaissance politics. No democratic citizens here, but rather subjects of an autocratic Prince. Think Machiavelli (read him <a href="https://www.law.upenn.edu/institutes/cerl/conferences/ethicsofsecrecy/papers/reading/Macchiavelli.pdf" target="_blank" rel="noopener">here</a>). Think of the ‘divine right of Kings’. In 1615, Frescobaldi and his contemporaries consider the Tactus to be the hand of God, that directs human musicians as if they are mere pawns, obedient ‘subjects’.</p> <p>Even in his <em>toccate </em>and the ‘modern madrigals’ he compares them to, Frescobaldi does not suggest anarchy, a revolution that overthrows the reign of the Tactus. On the contrary, he explains that the difficulties of these compositions are ‘facilitated by means of the Tactus’. This is perhaps the most important point for modern readers to understand: Frescobaldi requires there to be a Tactus at all times, even though he specifies certain ways in which that Tactus might sometimes be changed.</p> <p>Modern Madrigals refers to the new style of concerted music for voices and instruments, accompanied with a basso continuo, which (like Frescobaldi’s <em>toccate</em>) feature contrasting sections. Like the songs of Caccini’s <em>Nuove Musiche</em>, they include sections for solo voice and continuo, in which a passionate style of singing, full of vocal special effects, is required. Monteverdi’s 5th Book, in 1608, includes both old-fashioned polyphonic partsongs and ‘modern’ concerted settings; his 6th Book in 1619 is entitled <em>Concerto</em> and consists entirely of ‘modern’ compositions. Frescobaldi published in 1615, just as the move to ‘modernism’ was underway.</p> <p>Notice that Frescobaldi does not use the word Recitative, although one of the features of ‘modern madrigals’ is what we (anachronistically) call ‘recitative’. There is no suggestion from Frescobaldi (or elsewhere) that what we call Recitative should be performed in free rhythm.</p> <p>Since the Tactus beat is down-up, sustaining it ‘in the air’ implies prolonging an upbeat, or hesitating before a downbeat. This already reduces the opportunities for hesitation by 50%: Frescobaldi does not sanction holding the Tactus-hand down at the bottom of the downbeat!</p> <p>The <em>affetti </em>in ‘modern madrigals’ can be identified by ‘the sense of the words’. But Frescobaldi’s <em>toccate </em>have no text, of course, so understanding which <em>affetto</em>, which passion, is at play becomes a crucial question. Remember that the idea of ‘moving the Passions’ implies that the <em>affetto</em> changes frequently, often from one extreme to its opposite (as we read in the Preface to Cavalieri’s <em>Anima e Corpo</em>, <a href="http://conquest.imslp.info/files/imglnks/usimg/d/dc/IMSLP338911-PMLP546824-Cavalieri_Rapresentatione.pdf" target="_blank" rel="noopener">here</a>).</p> <h5>Different Movements</h5> <blockquote> <p style="padding-left:30px;">2. In the <em>toccate </em>I took care not only that they should be full of different movements and passionate effects: but also that each of these movements can be separated one from another, so that the player has no obligation to finish them all, but can stop wherever it seems convenient to him.</p> </blockquote> <p>The sectional construction of the <em>toccate </em>is a significant topic in Frescobaldi’s advice for performers. The corollary is that other genres of music in the piece, which are not constructed in contrasted sections, should not have the Toccata Rules applied to them. These Rules apply only to the specific genre of Toccata, to the related genre of ‘modern Madrigal’, and (as Frescobaldi mentions later) to other genres that fall into well-defined sections. Otherwise, the default assumption, circa 1615, remains the conservative practice of constant Tactus.</p> <h5>Not to leave the instrument empty</h5> <blockquote> <p style="padding-left:30px;">3. The opening sections of the <em>toccate </em>should be performed <em>adagio </em>and arpeggiating; and similarly in the <em>ligature </em>(sections with suspensions ‘tied over’) or <em>durezze </em>(dissonances), also in the middle of the piece. [The tied-over suspended] are struck [again] together [with the new, dissonant harmony], so as noto leave the instrument empty. This restriking can be repeated ad lib by the player.</p> </blockquote> <p>The opening sections are notated in long notes. If you take a slow Tactus, then they end up feeling very slow indeed. Certainly, you’ll need arpeggios ‘so as not to leave the instrument empty’. I recommend following Frescobaldi’s advice, and using the Tactus to ‘faciliate’ changes of tempo, which can be ‘difficult’. Play the transition between two sections first in constant Tactus; then apply Frescobaldi’s Rules to adjust the Tactus, and play the transition with the required adjustment.</p> <p>It is not clear if the ad lib restriking of dissonances refers to the suspended note only, or to the entire dissonant chord. It is also not clear whether <em>a bene placito </em>(which I translate as ‘ad lib’) means ‘if you want’ or ‘as many times as you want’. I have been told that Piccinini recommends something similar for the lute, but I do not have a precise reference for this. [Lutenist readers, please comment!]</p> <h5>Transitions between movements</h5> <blockquote> <p style="padding-left:30px;"> 4. On the last note, both of trills and of passage-work that moves by leaps or by step, you have to stop, even if that note is a quaver or semi-quaver, or dissimilar to the following note. This pausing will avoid any confusion between one passage and another.</p> </blockquote> <p>It’s worth noting again the context, which is the assumption of regular Tactus. Frescobaldi’s readers do NOT expect to stop on a short note, and they recognise the need to maintain the Tactus (under normal circumstances) so that contrasts in notated note-values can be understood. However, in the special case of the transition between contrasting sections of a <em>toccata</em>, those 17th-century assumptions are contradicted.</p> <h5>Adagio (not rallentando)</h5> <p style="padding-left:30px;">5. The cadences, although they might be written fast, can appropriately be somewhat sustained; and as you approach the conclusion of passage-work or cadences you go sustaining the tempo more <em>adagio. </em>The separation and conclusion of movements is when you find a consonance in both hands together, written in minims.</p> <p>A stylistic feature of this repertoire is the use of ever-smaller note values for decorated cadences: Frescobaldi says that you don’t have to take the note-values absolutely literally, but the Tactus can be ‘somewhat sustained’. This suggests the ‘sustaining’ of the Tactus hand ‘in the air’, on the upstroke. Approaching the conclusion of a section, the entire Tactus can be slower than normal. It is not clear whether <em>piu adagio</em> means only ‘slower than normal’ or also ‘getting slower and slower’: we should not assume that Frescobaldi is advocating a modern <em>rallentando</em>. My cautious opinion, based on close reading of other sources in this period, is that <em>rallentando</em> is probably not intended, rather it is a one-time shift in tempo. I advise my students to vary the tempo ‘with the gear-lever, not with the brakes or accelerator’.</p> <h5>The Trill challenge!</h5> <p style="padding-left:30px;">6. When you find a trill in the right hand, or the left, and simultaneously the other hand has passage-work, you should not synchronise these note by note, but just try to make the trill fast, and carry the passage-work less fast and passionately: otherwise there will be confusion.</p> <p>Ideally, the trill should have an elegant, subtle ‘shaping’ from slow to fast (as Caccini recommends and many other sources support), rather than being literal. The moving part in the other hand should then be slower than the fast trill, and should be played ‘passionately’. We should not confuse 17th-century passion with 20th-century rubato: Caccini suggests many ways to vary the rhythm of notated quavers, in order to ‘move the passions’, within a steady minim tactus. The concepts here (steady tactus, shapely and fast trill, passionate presentation of the moving notes, independence of the two hands) are challenging for modern readers: the execution is not easy, either!</p> <p>Harpists might note that this situation occurs in the final notes of the <em>arpa doppia </em>solo in Monteverdi’s <i>Orfeo </i>(Act III, the Aria <em>Possente Spirto</em>): trill in the right hand (with F#, which is a little inconvenient), passionate moving notes in the left hand (fragments of upward scale, each successive fragment is an octave lower, as we descend into the depths of Hell): it is, of course, the end of a <em>passo</em>. Go ahead and apply Frescobaldi Rule 6 – it’s not easy, but the <em>effetto </em>is certainly worth the effort.</p> <h5>Fun with two hands</h5> <p style="padding-left:30px;">7. When you find some movement with quavers and semiquavers together in the two hands, it shouldn’t be taken too fast: and the hand that plays the semiquavers must play them somewhat dotted, that is not the first, but the second [note] should be dotted, and so on all the way through, one no, the next yes.</p> <p>Good practical advice to take these movements at a steady tempo (some modern performers treat them as a race for an Olympic speed record). So whilst one hand moves in quavers (taken normally, and in steady Tactus), the semiquavers in the other hand are given a gentle ‘reverse swing’ in ‘Lombard’ rhythm (short-long). Fun!</p> <h5>Attack resolutely!</h5> <p style="padding-left:30px;">8. Before you play a ‘double movement’ where both hands have semiquavers, you should stop on the previous note, even if it is ‘black’ (i.e. short: crotchet, quaver, semiquaver); then resolutely play the passage-work, so that the agility of the hand will be so much more apparent.</p> <p>The advice to stop before beginning a new movement fits with what we have already been told in Rule 4, although the situation here might be slightly different. Frescobaldi’s care in spelling out the details of these two, apparently very similar, situations, is a warning to us not to apply his Rules without careful checking that the situation really is appropriate. There is no general licence to ‘change the Tactus whenever you want’!</p> <p>Some modern players like to start such ‘double movement’ passage-work slowly, and accelerate. Frescobaldi rules this out: he tells you to begin ‘resolutely’. This word occurs also in sword-treatises, where spotting the correct moment (also called <em>tempo</em> in the sense of <em>kairos</em> or opportunity) to attack is a vital skill. But once the opportunity to strike is there, you don’t begin slowly, you attack ‘resolutely’! This is another situation where I advise my students “don’t use the brakes and accelerator, use the gear-shift’.</p> <p> </p> <h5>Driving Time</h5> <blockquote> <p style="padding-left:30px;">9. In the <em>Partite </em>(variations), when you find passage-work and passionate effects it will be good to take the tempo <em>largo</em>; you should observe this also in the <em>toccate</em>. The other [variations] without passage-work can be played with a somewhat <em>allegro </em>Tactus, leaving the good taste and fine judgement of the player to ‘drive the <em>tempo</em>‘<em>; </em>in this [driving the <em>tempo</em>] lies the spirit and perfection of this manner and style of playing.</p> </blockquote> <p>We are reminded here that the Rules are not ‘how to play <em>toccate</em>‘, but ‘how to play with a diversity of movements and passionate vocal effects’. So variation-sets may well have a diversity of movements, and some variations may include passionate vocal effects.</p> <p>The references to ‘good taste’ and ‘fine judgement’ suggest that the changes in Tactus between <em>adagio, largo </em>and <em>allegro </em>are subtle adjustments to the normal tempo (something around minim = 60 is the ‘default’ setting for this period). Note that Frescobaldi often qualifies words of tempo change with adverbs like ‘somewhat’, ‘slightly’.</p> <p>To find the correct ‘spirit’ and ‘perfection’ in these small adjustments, we need to make good use of the Tactus to ‘facilitate’ such ‘difficult’ transitions. Especially when the Tactus is going to change somewhat, or even hesitate in the air, we need to have a good understanding of precisely what the Tactus is doing. Often, players change the Tactus in the <em>opposite </em>way from Frescobaldi’s rules, taking the opening arpeggios at a different tempo from, but <em>faster</em> than the succeeding movement. The remedy is to begin by studying the piece in a consistent Tactus, and to manage transitions by focussing on the Tactus, not on the general level of activity in smaller note-values.</p> <p>The reference to ‘good taste and fine judgement’ does not imply that the player can do ‘whatever they want’. Rather, they are required to be careful in how much, and in which direction, to ‘drive the <em>tempo</em>‘, so that Time’s winged chariot does not crash and burn.</p> <div data-shortcode="caption" id="attachment_1360" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg"><img aria-describedby="caption-attachment-1360" data-attachment-id="1360" data-permalink="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/phaeton-van-eyck/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg" data-orig-size="741,800" data-comments-opened="1" data-image-meta="{"aperture":"74099370.67","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"74099370.666667","iso":"0","shutter_speed":"74099370.666667","title":"","orientation":"1"}" data-image-title="Phaeton van Eyck" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=278" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=440" class="wp-image-1360 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=440&h=475" alt="Phaeton van Eyck" width="440" height="475" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=440&h=475 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=139&h=150 139w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=278&h=300 278w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg 741w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1360" class="wp-caption-text">Playing with Time can be dangerous: Phaeton tried to drive Apollo’s Sun-Chariot, but he crashed it.</p></div> <blockquote><p>The Passacaglias can be played separately, whatever best pleases you, with adjustments of the <em>tempo </em>between one variation and another, similarly for Ciacconas.</p> <p> </p></blockquote> <p>It is not clear whether ‘separately’ means that you can play an individual set of passacaglia variations as a ‘stand-alone’ piece, or if you can select variations from within a set, in the same way that you can select movements from within a <em>toccata.</em> Probably the latter. But note that the Tactus can be changed between one variation and another, according to the Rules already given.</p> <h3><strong>Other Prefaces</strong></h3> <p>In addition to the famous 9 Rules, Frescobaldi gives other summaries of his approach.</p> <h3>1615a</h3> <blockquote><p>The beginnings of the <em>toccate </em>should be played <em>adagio</em>, and the block chords should be arpeggiated. As [the <em>toccata</em>] continues, pay attention to the distinction between movements, carrying them more or less rapidly according to the difference in their passionate effects, which will appear as you play. In the ‘double movements’ [semiquavers in both hands], similarly you go <em>adagio</em>, so that they are better articulated; and in descending leaps, the last note before the leap should always be resolute and fast. It’s appropriate to stop on the last note of a trill, or other passionate effects, such as a leap, or step, even if it is a semiquaver or demisemiquaver. And usually you somewhat sustain the cadences. In the <i>partite</i> you set <em>tempo giusto</em> and with Proportions, and because in some [variations] there are fast movements, start with a comfortable Tactus; it’s inappropriate to start <em>presto </em>and then continue languidly. But [<em>partite</em>] should be carried through entirely in the same <em>tempo. </em>And have no doubt, that the perfection of playing is in the understanding of <em>tempi</em>.</p></blockquote> <p>This summary also reminds us of the default assumptions of the early 17th century. There is the expectation of a standard Tactus – <em>tempo giusto</em> – around minim = 60, and triple-metre is managed by Proportions. The normal expectation is that pieces will be played entirely with a constant Tactus.</p> <p>Nevertheless, the final sentence refers to <em>tempi</em>, in the plural. There can be changes in the Tactus, but ‘perfection’ is in understanding precisely where, when and how.</p> <h3>1624 Primo libro di capricci</h3> <blockquote><p>These works … of various <em>tempi</em> and variations…</p> <p>In these pieces, which might seem irregular in their use of counterpoint, you should first look for the passion of the movement in question and the intention of the Composer concerning the delight of the listener and the way one should try to play. In those pieces entitled Capricci, I have not kept such an easy style as in my Ricercari. But you shouldn’t judge their difficulty before putting them into practice at the instrument, where you will recognise by study the passion they should have…</p> <p>You can choose whichever you like of these movements, and finish in any of them which end in the right tonality. The beginnings should start <em>adagio</em> to give greater spirit and beauty to the following movement; and in the cadences sustain somewhat before you start the next movement. And in tripla [fast triple] or sesquilatera [slow triple] metres, if they are <em>maggiori </em>you set off <em>adagio</em>, if they are <em>minori </em>somewhat more <em>allegro; </em>if they are three semi-minims, <em>piu allegro; </em>if they are 6/4 you give their <em>tempo</em> by making the <em>battuta </em>go <em>allegro.</em></p> <p>It is good in some dissonances to dwell on them and arpeggiate them, so that the following movement comes out with more spirit. All this is said with every modesty, and depending on the good judgement of studious performers.</p></blockquote> <p>This summary also gives us additional information. Genre distinctions (Ricercare or Capriccio) are significant. To understand difficult music, search for the passion of each movement, and consider the Composer’s intentions.</p> <p>In the discussion of Proportions, I have left certain terms untranslated, because there is academic debate on their meaning. But my take on this is very straightforward: triple metres might be notated under 3/1 or 3/2, but either way, long notes (three semibreves) go slowly; short notes (three minims) go medium fast. Semi-minims are black with a stick – to a modern reader they look like crotchets: they go faster. If you have a 6/4 section, this goes very fast.</p> <p>This user-friendly approach to Proportions can be applied to famously challenging situations, for example the ballo in Monteverdi’s <em>Orfeo</em>. See <em>Tactus & Proportions in ‘Lasciate i monti’</em> <a href="https://andrewlawrenceking.com/2014/11/09/sherlock-holmes-and-the-wedding-dance-tactus-proportions-in-monteverdis-lasciate-i-monti/" target="_blank" rel="noopener">here</a>. The difference between the (consistent) time-duration of particular note-values, and the (diverse) feelings of ‘speed’ in triple metres is explored in <em>Quality Time: how does it <span style="text-decoration:underline;">feel</span>?</em> <a href="https://andrewlawrenceking.com/2015/01/13/quality-time-how-does-it-feel/" target="_blank" rel="noopener">here</a>. I set out in detail my take on Tactus and Proportions in <em>Getting back to Monteverdi’s Time </em><a href="https://andrewlawrenceking.com/2015/02/16/tempus-putationis-getting-back-to-monteverdis-time/" target="_blank" rel="noopener">here</a>.</p> <h3>Scope</h3> <p>I began by urging caution. We need to understand precisely where, when and how Frescobaldi allows departures from the 17th-century default setting of constant Tactus. But close reading reveals that his Rules can appropriately be applied not only to harpsichord solos but to any repertoires in this period that exhibit sectional construction with different rhythmic structures between movements, and/or passionate vocal effects. Certainly that includes the ‘modern’ style of Madrigals around 1615, but it would also seem relevant to vocal monody and – most intriguingly – to ‘opera’.</p> <p>Whilst the default assumption is that an entire work (e.g. Monteverdi’s <i>Orfeo</i>) has the same, consistent Tactus, Frescobaldi’s Rules suggest particular circumstances where the Tactus might be somewhat faster or slower, or might even hesitate in the air. However, these Tactus changes are between movements (not within a movement), and (I would argue) of the ‘gear-shift’ type, rather than <em>accelerando</em> or <em>rallentando</em>. And the way to study these ‘difficult’ transitions is to identify the passion, apply the appropriate (subtle) adjustment of Tactus, and facilitate the performance by keeping a grip on the Tactus.</p> <p>All this is very far from ‘rhythmic freedom’ in ‘recitative’, or any general licence to play around with Time. Rather, even when the Tactus is going to change or hesitate, you facilitate the adjustment by means of the Tactus. Don’t crash the Time-Chariot.</p> <blockquote><p>Tactus still rules, OK?</p></blockquote> <p> </p> <p>Please join me on Facebook <a href="https://www.facebook.com/andrew.lawrenceking.9">https://www.facebook.com/andrew.lawrenceking.9</a> and visit our websites <a title="The Harp Consort" href="https://andrewlawrenceking.com/2013/08/26/what-is-music/www.TheHarpConsort.com" target="_blank" rel="noopener">www.TheHarpConsort.com</a></p> <p><a title="Il Corago" href="http://www.ilcorago.com/" target="_blank" rel="noopener">www.IlCorago.com</a> and <a title="The Flow Zone" href="http://theflow.zone/" target="_blank" rel="noopener">www.TheFlow.Zone</a></p> <p>Opera, orchestra, vocal & ensemble director and early harpist, Andrew Lawrence-King is director of The Harp Consort and of Il Corago. From 2010 to 2015 he was Senior Visiting Research Fellow at the Australian Centre for the History of Emotions.</p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <div id="atatags-370373-67b1eb0dd7fdd"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-67b1eb0dd7fdd', { sectionId: '370373', format: 'inread' }); }); </script> </div><span id="wordads-inline-marker" style="display: none;"></span> <div id="atatags-26942-67b1eb0dd8222"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-67b1eb0dd8222', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-1351" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-1351" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Frescobaldi%20Rules%2C%20OK%3F&body=https%3A%2F%2Fandrewlawrenceking.com%2F2015%2F10%2F23%2Ffrescobaldi-rules-ok%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/italian-baroque-harp/" rel="category tag">Italian baroque harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/continuo/" rel="tag">Continuo</a>, <a href="https://andrewlawrenceking.com/tag/early-harp/" rel="tag">Early Harp</a>, <a 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rel="tag">seicento</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/" title="Permalink to Frescobaldi Rules, OK?" rel="bookmark" class="permalink"><span class="month upper">Oct</span><span class="sep">·</span><span class="day lower">23</span></a></p> </footer> </article> <div id="comments"> <h2 id="comments-title"> 15 thoughts on “<span>Frescobaldi Rules, OK?</span>” </h2> <ol class="commentlist"> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2022/02/24/badalla/" class="url" rel="ugc">Measuring musical time in late-17th-century Italy | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/" class="url" rel="ugc">Altri canti senza battuta: Madrigals of Love, War & Tactus | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> 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href="https://andrewlawrenceking.com/2020/03/15/three-types-of-dramatic-monody/" class="url" rel="ugc">Recitative for Idiots (but don’t use that word): three types of Dramatic Monody | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2019/10/12/understand-enjoy-and-be-moved-listening-to-the-rhetoric-of-orfeo/" class="url" rel="ugc">Understand, enjoy and be moved! Listening to the Rhetoric of Orfeo | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2019/06/29/its-recitative-but-not-as-we-know-it/" class="url" rel="ugc">It’s Recitative, but not as we know it | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2019/04/24/fake-news-early-opera-aka-seicento-dramatic-monody/" class="url" rel="ugc">Fake News? Early Opera, aka Seicento Dramatic Monody | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2019/02/12/eternal-hieroglyphs-from-monteverdis-tactus-to-handels-tempo-ordinario/" class="url" rel="ugc">Eternal Hieroglyphs: from Monteverdi’s Tactus to Handel’s Tempo Ordinario | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2018/12/08/measuring-a-shepherdess-heart-rate-lamento-della-ninfa/" class="url" rel="ugc">Measuring a shepherdess’ heart-rate: Lamento della ninfa | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2017/11/25/tactus-sprezzatura-drama/" class="url" rel="ugc">Tactus, Sprezzatura & Drama | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/" class="url" rel="ugc">Emotions in Early Opera | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2014/06/07/the-right-time-for-a-new-vision-monteverdis-1610-vespers/" class="url" rel="ugc">The Right Time for a New Vision: Monteverdi’s 1610 Vespers | Andrew Lawrence-King</a></p> </li> </ol> <div id="respond" class="comment-respond"> <h3 id="reply-title" class="comment-reply-title">I'd like to hear your comments. Please comment here <small><a rel="nofollow" id="cancel-comment-reply-link" href="/2015/10/23/frescobaldi-rules-ok/#respond" style="display:none;">Cancel reply</a></small></h3><form action="https://andrewlawrenceking.com/wp-comments-post.php" method="post" id="commentform" class="comment-form"> <div class="comment-form__verbum transparent"></div><div class="verbum-form-meta"><input type='hidden' name='comment_post_ID' value='1351' id='comment_post_ID' /> <input type='hidden' name='comment_parent' id='comment_parent' value='0' /> <input type="hidden" name="highlander_comment_nonce" id="highlander_comment_nonce" value="9450d93eec" /> <input type="hidden" name="verbum_show_subscription_modal" value="" /></div><p style="display: none;"><input type="hidden" id="akismet_comment_nonce" name="akismet_comment_nonce" value="3bc44528b7" /></p><p style="display: none !important;" class="akismet-fields-container" data-prefix="ak_"><label>Δ<textarea name="ak_hp_textarea" cols="45" rows="8" maxlength="100"></textarea></label><input type="hidden" id="ak_js_1" name="ak_js" value="30"/><script>document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() );</script></p></form> </div> </div> <nav id="nav-below"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/" rel="prev"><span class="meta-nav">←</span> Monteverdi, Caccini & Jazz</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/" rel="next">Text, Rhythm, Action! Research, Training & Performance <span class="meta-nav">→</span></a></div> </nav> </div> </div> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. He is a qualified hypnotist.</p> </div> </aside><aside id="search-3" class="widget widget_search"><h1 class="widget-title">Search this Blog for content</h1><form method="get" id="searchform" action="https://andrewlawrenceking.com/"> <label for="s" class="assistive-text">Search</label> <input type="text" class="field" name="s" id="s" placeholder="Search" /> <input type="submit" class="submit" name="submit" id="searchsubmit" value="Search" /> </form> </aside><aside id="media_gallery-3" class="widget widget_media_gallery"><h1 class="widget-title">Andrew Lawrence-King</h1><p class="jetpack-slideshow-noscript robots-nocontent">This slideshow requires JavaScript.</p><div id="gallery-1351-1-slideshow" class="jetpack-slideshow-window jetpack-slideshow jetpack-slideshow-black" data-trans="fade" data-autostart="1" data-gallery="[{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-with-huete.jpg?w=440","id":"10","title":"alk-with-huete","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/05\/the-perfect-musical-director-mattheson-by-alk.png?w=440","id":"1657","title":"The Perfect Musical Director Mattheson by\u0026nbsp;ALK","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-2014.jpg?w=440","id":"1681","title":"ALK Irish 2014","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-sheffield.jpg?w=440","id":"1684","title":"ALK sheffield","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-at-eihf.jpg?w=440","id":"1672","title":"ALK at EIHF","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/10\/golden-mask.png?w=235","id":"1374","title":"Golden Mask","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-st-p-baroque-opera-studio.jpg?w=440","id":"1679","title":"ALK directs St P baroque opera\u0026nbsp;studio","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp.jpg?w=440","id":"1675","title":"ALK directs harpsichord \u0026amp;\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/lord-of-the-strings.jpg?w=440","id":"1562","title":"Lord of the\u0026nbsp;Strings","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-masterclass.jpg?w=440","id":"1682","title":"ALK Masterclass","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-tra.jpg?w=440","id":"764","title":"ALK TRA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/the-theatre-of-dreams.png?w=440","id":"846","title":"The Theatre of\u0026nbsp;Dreams","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-lha.jpg?w=440","id":"1676","title":"ALK directs LHA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/thc-logo-2011-with-background.jpg?w=440","id":"13","title":"THC logo 2011 with\u0026nbsp;background","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-sinfonietta-riga.jpg?w=440","id":"1678","title":"ALK directs Sinfonietta\u0026nbsp;Riga","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/thc-20-years-ago-web.jpg?w=440","id":"947","title":"THC-20-years-ago-web","alt":"","caption":"Pat O\u0026#8217;Brien, ALK \u0026amp; other founder-members of The Harp Consort, at the recording sessions of Luz y Norte in 1994.","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/il-corago.jpg?w=440","id":"12","title":"Il corago","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-harp-bordeaux-boat.jpg?w=440","id":"1686","title":"ALK, Irish Harp, Bordeaux\u0026nbsp;boat","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-from-small-harp.jpg?w=440","id":"1673","title":"Alk directs from small\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/enargeia.png?w=278","id":"847","title":"Enargeia","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-director-bow.jpg?w=440","id":"11","title":"ALK-director-bow","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/the-flow-zone-mashup-2015.jpg?w=440","id":"1550","title":"The Flow Zone mashup\u0026nbsp;2015","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/copy-alk-huete-small2.png?w=269","id":"25","title":"copy-alk-huete-small2.png","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-with-chromatic-irish-harp.jpg?w=440","id":"1685","title":"ALK with chromatic Irish\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/alk-peri.jpg?w=440","id":"1579","title":"ALK \u0026amp; Peri","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/02\/inquartata.jpg?w=340","id":"380","title":"inquartata","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-arpanetta.jpg?w=363","id":"1670","title":"ALK \u0026amp; Arpanetta","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-in-rehearsal.jpg?w=431","id":"688","title":"ALK in rehearsal","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/alk-irish-baroque.jpg?w=440","id":"93","title":"ALK Irish baroque","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/fingernails.jpg?w=440","id":"908","title":"fingernails","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/no-conducting.png?w=240","id":"684","title":"No conducting","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs.jpg?w=440","id":"1680","title":"ALK directs","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/introduction-to-single-action-harp.png?w=440","id":"118","title":"Introduction to Single Action\u0026nbsp;Harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-rovaniemi-orchestra.jpg?w=440","id":"1677","title":"ALK directs Rovaniemi\u0026nbsp;Orchestra","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/alkzampieri.jpg?w=440","id":"938","title":"ALK\u0026amp;Zampieri","alt":"","caption":"ALK with Rainer Thurau\u0026#8217;s \u0026#8220;Zampieri\u0026#8221; 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