Fitzwilliam on tour
& F.O.T. academy
form an interface of different musical currents and projects.
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 (approx. 1560-1620), and also on early Iberian keyboard music.
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
ANON. XX. Alman.
from Fitzwilliam Virginal Book
(ca. 1560-1620)
Johann Sebastian Bach
(1685-1750):
"Christum wir sollen loben schon"
Fughetta. BWV 696. Christmas hymn
François Couperin (1668-1733): Allemande (1716)
L'Art de toucher le clavecin (1716/17)
Dietrich Buxtehude (1637-1707): Auf meinen lieben Gott, BuxWV 179
[Allemande], Double, Courante, Sarabande, Gigue
Girolamo Frescobaldi (1583-1643): Balletto [Primo], Corrente del Balletto, Passachagli
Toccate e partite d'intavolatura,
Libro 1, (1615 | 1637)
Cantzon / F: Töndern
Franz Tunder (1614-67): Canzona in G // Cantzon / F: Töndern
Uppsala University Library Ms Ihre 285Notes on François Couperin: Allemande (1716)
L'Art de toucher le clavecin (1716/17)
Anmerkungen zu François Couperin: Allemande (1716)
P. de Araújo de 2. Tom
[sobre Susana]
Pedro de Araújo (17th c.):
Obra de 2. Tom sobre Susanne un jour.
Ms 964 BPB, fol. 137v
ANON. Nowel's Galliard.
[CCXLIV.]
from Fitzwilliam Virginal Book (ca. 1560-1620)