Another suite by William Croft (30 December 1678 – 14 August 1727). This time with a different mood compared to the C major one that I uploaded some time ago https://youtu.be/5qOqhLGca48 The original source of this suite is a manuscript: Brussels Conserv. XY 15139Z, p.42-6 . The document was written in a '..consistent English hand..' and contains music by Purcell, Croft, Blow, Fischer, Krieger, Eccles, Clarke and 'Jean Cort Camp' (?). https://www.buymeacoffee.com/theclavierist If you enjoy the channel you can support it by 'buying me a coffee' :-) Mr Bellicanta, the Clavierist Instrument: English harpsichord by Peter Barnes Tuning: 1/6 comma meantone - a' = 415 Hz The harpsichord is built according to the English tradition and closely based on a 1709 harpsichord by Thomas Barton (in Edinburgh Univ. Collec.) and a c.1715 spinet by 'Keene and Brackley'. The paintings are closely based on another English instrument, the 'Coston Harpsichord' (in Edinburgh Univ. Collec.). #williamcroft #purcell #harpsichord #englishharpsichord #18thcenturymusic #baroque ... https://www.youtube.com/watch?v=4EsSIvqb0pQ

John Field (1782-1837), pupil of Clementi, admired by Chopin, was the creator of the ‘Nocturne’.. ‘..delicate and poetic pieces..’ ‘..wordless love-songs..’ Like many of my music scores, I found it in a second-hand shop. Intrigued by the fact it was ‘..after the edition of Franz Liszt..’, I bought it. Once I had the chance to try this Nocturne on a Broadwood pianoforte of 1805, a type of instrument that Field would have known during his youth in London. A different piece of cake compared to our modern pianos! Lighter keys but slower action.. a resonance of sound that required a different use of the pedal.. the need for a control of touch that I honestly could not understand straight away.. But I did not give up. I listened to that old piece of wood and ivory with strings and after slowing down my ‘own natural’ tempo I found a balance to allow Mr Broadwood’s creation to speak clearly. My body filled itself with a mystical sensation that I did not expect from such ‘simple’ music, and although it only lasted for a few bars, I took away with me that ‘extra-tempore’ moment. Back on the modern piano I tried to reproduce the same but I soon realized that the only and most sensible solution would be to find a compromise, to at least aim at what I experienced sitting at the old pianoforte. Interestingly, in the original ‘Liszt edition’ he writes only ‘cantabile’ (with no other indication) and ‘nicht zu geschwind’ (not too quick), whatever that could mean. So no Andante nor Andantino. Far from having found a final solution, if such a thing even exists.. while playing it, I managed to at least speak some ‘musical gibberish’ and have a great time remembering those magical moments with the fortepiano. Mr Bellicanta, the Clavierist Instrument: modern upright piano Tuning: equal temperament, A = 440Hz https://www.buymeacoffee.com/theclavierist If you enjoy the channel you can support it by 'buying me a coffee' :-) ... https://www.youtube.com/watch?v=9ysBnASBjlk