Fitzwilliam on tour | fitzwilliam-on-tour

We are to make the world more beautiful with our good possibilities.

Fitzwilliam on tour form an interface of different musical currents and projects. can become a scientific extension.

I have always enjoyed dealing with early keyboard music. Certainly the personal preference lies with the organ, but the first piece of music I played solo on a harpsichord was the XX Alman [VII] by an anonymous composer, No. XX in the Fitzwilliam Virginal Book (ca. 1560-1620) as interlude of a concert with polyphonic vocal music of the Renaissance in Dithmarschen, Schleswig-Holstein. 

Platform that deals with the evolution and emancipation of keyboard music in the 16th and 17th centuries with a focus on the Fitzwilliam Virginal Book, on early Iberian keyboard music, but also on D. Buxtehude and J. Pachelbel. 

Fitzwilliam on tour forms an interface between different musical currents and projects. Institutionalization would be a nice goal.

F.o.t. is an opportunity to get to know works by well-known, little-known and anonymous composers.

After all, listening and playing - the extensive preoccupation with this beautiful music - is a lot of fun.

Cordial invitation

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ANON. XX. Alman.

Fitzwilliam Virginal Book (1560-1620)

Pedro de Araújo (17th c.): Obra de 2. Tom sobre Susanne un jour.

Dietrich Buxtehude (1637-1707): "Auf meinen lieben Gott", BuxWV 179

[Allemande] | Double | Courante | Sarabande | Gigue

Johann Pachelbel (1653-1706): "Was Gott tut, das ist wohlgetan", Choral mit 9 Partiten (1683)

Nicolas Lebègue (1631-1702): Allemande de Mr Le Bègue (1690)

Jean Titelouze (1563-1633): "Ad coenam agni providi", 2. verset (1623)

Hans Leo Haßler (1564-1612): Ridon di Maggio i prati e i vaghi colli
Giacomo Brignoli (c.1550-c.1600): Fuga Decima

J. S. Bach: Wer nur den lieben Gott läßt walten, BWV 690 & 691

William Byrd (1540-1623): A Gigg.

Fitzwilliam Virginal Book

William Byrd (1540-1623): Coranto, FVB 241

F. W. Zachow: Nun komm der Heÿden Heÿland, Partita (1707)