Deux-Elles Albertus Bryne Keyboard Music

Terence Charlston Harpsichord Organ Spinet musical employment in church. The majority of his keyboards, valued at £30 in total. His son Albertus ence. Nicholas Harrison mistook the D major suite Albertus Bryne surviving keyboard music is designed for domestic continued to draw his father’s salary at St. Paul’s to be the work of John Blow, Bryne’s successor at Keyboard Music rather than church use and probably originates and an organist of the same name, though not Westminster Abbey while in the eighteenth century from this time. Like many of his colleagues he may necessarily the same person, is listed as the organist William Walond compiled an anthology in which Thus times do shift,—each thing his turn does hold; have sought refuge by travelling west perhaps visit- at Dulwich College and All Hallows Barking by the Bryne’s A minor suite appears (anonymously) New things succeed, as former things grow old. ing Royalist strongholds such as Oxford, Hereford Tower during the 1670s. alongside music of Blow and Purcell. Robert Herrick and Ludlow or the West Country. He was certainly ‘Ceremonies for Candlemas Eve’ in London during the Protectorate as John Play- Had he lived only a few more years and played an Three of Bryne’s six suites have the standard three from Hesperides (1648) ford’s Musicall Banquet (1651) lists him amongst active role in Restoration London posterity might movement format, almain, corant and saraband (or War and Fire the ‘excellent and able Masters’ who taught organ well have treated Bryne and his keyboard music in the case of the F major suite ayre, corant and and virginals there. with a little more respect. As it is, his music is largely saraband) while the other three have an additional Born around 1621, Albertus Bryne lived through forgotten. This is a great pity since its attractive and fourth movement, a jig almain. A further five pieces the turbulent years of the English Civil War, the By the Restoration his reputation was well estab- well crafted qualities were greatly appreciated in its in Musicks Handmaide are grouped into two sets Commonwealth and the first few years of Charles lished. John Batchiler’s biography of the talented own day and to judge by the surviving copies, well but could also be played as a single suite. II’s reign as restored monarch. He was trained as a and greatly admired viol player Susanna Perwich, into the 18th century. Like the keyboard music of chorister at St. Paul’s Cathedral in London by John entitled The Virgin’s Pattern (1661), relates that his near contemporaries such as Locke, John Moss The three core dances—almain, corant, saraband— Tomkins whom he succeeded as organist in about Bryne taught at the Perwich family school in and John Roberts, Bryne’s suites occupy a unique exemplify many of the characteristics typical of the 1638. Hackney, gave harpsichord lessons to Susanna’s position between the ‘Golden Age’ of the English later 17th century. The almains are more densely sister and describes him ‘Mr. Albertus Brian, that Virginalists and the highly individual voices of constructed than earlier examples and combine His professional life suffered several unfortunate famously velvet fingered Organist.’ Matthew Locke English Baroque at the end of the century. It is broken-chords with expressive figurations, both setbacks. He lost his post at St. Paul’s Cathedral considered Bryne a good composer to be compared hoped that this recording and the forthcoming edi- probably derived from lute playing. The examples twice, first when services ceased due to the out- favourably with Bull and Orlando Gibbons while tion of the music will help to redress three centuries in A and D minor are particularly fine and like break of the rebellion in 1642 and then again after Anthony Wood described him as ‘an excellent of neglect. the A minor saraband, gain a certain pathos from the Great Fire of London in 1666. In fact he was musician’. In May 1661 Bryne petitioned Charles continuous style brisé and the subtle use of chro- gainfully employed at St. Paul’s for only eight or II to be made an organist in the Chapel Royal but Jigs and Almains maticism. The corants are lively with short phrases, nine years despite nominally holding the post from there is no record of his appointment so we must playful rhythms and jazzy syncopations. the age of 17 until he was about 45. After the Great assume his request was unsuccessful. Albertus Bryne was the leading composer of Fire, he became organist of Westminster Abbey in harpsichord music before Locke and one of the The jig-almain is a curious amalgam of two dance succession to Christopher Gibbons but only for the Bryne died on 2 December 1668 in Westminster earliest English composers to organise his dances types—the almain and the jig. It is relatively rare in last two years of his life. These circumstances go although the whereabouts of his grave is not into suites by key. The musical style and texture English keyboard music, appearing only for a brief some way to explain his relative obscurity today. known. The contents of his house in Battersea of Bryne’s suites had a considerable influence on time, and in terms of the keyboard is almost unique were valued at £200 and bequeathed to his three the next generation of composers, especially Blow to Bryne. Such duple time jigs do occur on the con- During the years of civil war and the ensuing children Albertus, Elizabeth and Mary. Amongst and Purcell and they illuminate the development tinent. In France gigues are often indistinguishable administrative upheaval Bryne was by no means his domestic effects were ‘a paire of organs’ and of their constituent dances during a period of from allemandes and several Froberger gigues are idle although the political climate prohibited any some other unidentified objects, possibly plucked gradual evolution and growing continental influ- notated in this way.

Page  Page  Another form almost unique to English music my prosperity), a full anthem (Lord who shall Musical restoration Instrumentation and present in Bryne’s corpus is the ground. His dwell) and the Short (or whole) Service in G. Ground is for both organ or harpsichord and The form in which Bryne’s music has come down With the exception of music specifically for the presents a simple chord sequence upon which I To place Bryne’s music in context, this disc includes to us leaves many questions of interpretation organ, the majority of Bryne’s pieces would have have improvised further variation in the manner of Bull’s famous G major Prelude and two anonymous unanswered. These range from large scale issues been played on any keyboard instrument which the companion Ground in D major from GB-Ob pieces from an early Bryne source. Bull’s prelude is such as the context in which it was performed and the player had to hand, be it harpsichord, organ D.219 (recorded on DXL 1047) and the variation one of the most widely disseminated pieces in the for whom was it written, through questions of or clavichord. Much so-called ‘harpsichord’ music style of Christopher Simpson’s The Division-Viol repertoire. It was a favourite choice for beginners tempo and character down to minutiae of notation from the 17th century sounds equally well on the (1659). and is frequently found amongst the first lessons and ornamentation. These issues are more fully organ and I have included a couple of pieces on both in amateur virginal books. The anonymous dances, discussed in my forthcoming edition of the music harpsichord and organ (tracks 1, 38, 22 and 39). One piece bears the unexplained title Toletole. This especially the alman, illustrate just how far Bryne’s issued in conjunction with this disc. The tessitura of the music lies comfortably may be a dance or a setting of a popular song. The mature music has traversed from the late virginalist between the chromatic compass F-g2 with frequent title probably refers to the tolling of a bell or pos- style. Written out variations of corants and sarabands are use of the notes C, D and E (but not the intervening sibly a ‘tool’ or instrument. Another old meaning frequently encountered in Restoration keyboard chromatic notes) and a2. Most of it suits a C/E-c3 of the word ‘toll’ is ‘to attract, entice, allure, decoy, The disc concludes with three voluntaries or verses music and the improvisation of ‘doubles’ or varied short octave keyboard. Fourteen pieces including incite, instigate’ (OED). What ever the origins of by Christopher Gibbons, second son of the legen- repeats must have been frequently encountered the organ voluntary have a lowest note of AA. One its title, it is clearly an early piece and survives in dary Orlando Gibbons, which Bryne may well have in practice. Two types occur—the ‘division’ type of these has the highest note g2 while several make two versions. heard his predecessor play at Westminster Abbey. where the variation follows on after the dance and more frequent use of the top notes a2-c3. They are typical of Restoration organ music for a the ‘interpolated variation’ in which each half of The D major suite (tracks 14–16) has been Bryne’s organ voluntary has a tripartite structure, single organ (i.e. to be played on one keyboard) the dance is varied upon its repeat. The division recorded in two versions. The earlier version on each section with its own theme consisting of and are close in style to Bryne’s own voluntary. technique can be heard in the Ground (tracks 22 harpsichord and the later version on spinet (tracks increasingly smaller divisions of the beat. The three Christopher Gibbons was a colourful character, and 39) and the Corant (track 8) is an example 31–33). It is interesting to note how the later themes are introduced imitatively but soon give his life is well documented and fortune seems to of the latter with the variation of the first section scribe, Nicholas Harrison, adjusts the notation way to a less strict texture and, after a cadence, have served him well. John Aubrey mentions him placed second and, presumably, to be performed of ornaments and dotted rhythms to the prevail- finally yield to the next idea. This is interrupted by in passing in his Brief Lives and Mattheson tells the before the ‘real’ second half of the dance and its ing taste of his times, namely the music of Blow, a toccata-like flourish in the left hand announcing apocryphal story of Gibbons berating the German variation are heard. I improvise interpolated varied Purcell and Croft. Toletole is also recorded in three the first statement of the last theme. The repeated keyboard virtuoso, Froberger, for over blowing repeats for the Corant in D major (track 24). versions on harpsichords and organ. notes of this theme are similar to the second section the organ at Charles II’s marriage. Wood called I have made frequent use of the buff stops, both of Locke’s third voluntary in Melothesia (1673). Gibbons ‘a grand debauchee’: a view corroborated I improvise a set of variations upon the simple alone and in combination with other registers. The by an autograph remark on the verse in F major, harmonic sequence of the Ground (track 22) to arpichordum stop is used on track 3. Early English In addition to the thirty keyboard pieces recorded ‘drunk from the Catherine Wheele’. conclude the fine A minor suite. harpsichords often included small metal hooks or here Bryne composed four verse anthems (How brays which presumably touched the strings to create long wilt Thou forget me; I heard a voice in heaven; a similar buzzing effect. Christ our Passover; and the incomplete I said in © 2007 Terence Charlston

Page  Page  l’oisiveté, même si le climat politique interdisait tout estima les biens de sa demeure de Battersea à £200 l’époque où Bryne fit ses débuts. Le prélude de Bull Albertus Bryne emploi dans le domaine de la musique à l’église. La et on sait qu’il les légua à ses trois enfants, Albertus, figure parmi les morceaux les plus disséminés de ce Keyboard Music majorité de sa musique pour clavier ayant survécu Elizabeth et Mary. Parmi ses bien mobiliers, on répertoire. C’était le morceau choisi le plus souvent jusqu’à nos jours est destinée au cercle privé plutôt trouve « deux orgues » et d’autres objets qui ne par les débutants et on le retrouve souvent dans les Thus times do shift,—each thing his turn does hold; qu’à l’église et elle a probablement été écrite à cette furent pas identifiés, peut-être des claviers détachés, premières leçons des livres de musique virginale New things succeed, as former things grow old. période de l’histoire. Comme bon nombre de ses estimés à £30 en tout. Son fils Albertus continua à amateur. Les danses anonymes, en particulier Robert Herrick collègues, il est possible qu’il ait cherché refuge recevoir le salaire d’organiste de St Paul de son père, l’alman, illustrent la distance que la musique de ‘Ceremonies for Candlemas Eve’ dans l’ouest, et qu’il se soit arrêté dans des bastions et un organiste du même nom, mais pas forcément Bryne a traversé depuis les derniers années du style from Hesperides (1648) royalistes tels qu’Oxford, Hereford et Ludlow ou la même personne, est cité comme l’organiste de virginaliste. dans le West Country. Il était bel et bien à Londres Dulwich College et d’All Hallows Barkin-by-the- Né vers 1621, Albertus Bryne vécut pendant pendant le Protectorat puisque le Musicall Banquet Tower pendant les années 1670. Le CD se termine sur trois morceaux d’orgue ou la période agitée de la Guerre civile anglaise, le de John Playford (1651) fait figurer son nom couplets de Christopher Gibbons, le deuxième Commonwealth et les premières années du règne parmi les « excellents et capables Maîtres » qui lui y S’il avait vécu seulement quelques années de fils du légendaire Orlando Gibbons, que Bryne a de Charles II comme roi rétabli. Il reçut une avaient appris l’orgue et les virginaux. plus et joué un rôle actif dans le Londres de la probablement entendu jouer par son prédécesseur à formation de choriste à la Cathédrale St Paul de Restauration, la postérité aurait peut-être traité Westminster Abbey. Ils sont tout à fait typiques de Londres par John Tomkins à qui il succéda en tant A la Restauration, sa réputation était déjà bien Bryne et sa musique pour clavier avec un peu la musique pour un seul orgue de la Restauration qu’organiste vers 1638. établie. La biographie de la talentueuse et très plus de respect. Dans l’état actuel des choses, on (c’est-à-dire à jouer sur un seul clavier) et leur style admirée violiste Susanna Perwich par John a pratiquement oublié sa musique. C’est fort ressemble à celui du morceau pour orgue de Bryne. Sa vie professionnelle essuya plusieurs revers Batchiler, intitulée The Virgin’s Pattern (1661), dommage car l’attrait et la qualité de cette musique Christopher Gibbons était un personnage haut en malheureux. Il perdit son poste à St Paul à deux raconte que Bryne enseigna à l’école familiale composée avec art étaient très appréciés de son couleurs, beaucoup de documents traitent de sa vie, reprises, d’abord en raison de l’interruption des Perwich de Hackney, qu’il donna des cours de vivant, et ceci, d’après les copies ayant subsisté, et la fortune semble lui avoir souri. John Aubrey le offices qu’engendra le déclenchement de la rébellion clavecin à la sœur de Susanna, et le biographe le jusqu’à une bonne partie du XVIIIème siècle. mentionne en passant dans Brief Lives et Mattheson en 1642, et de nouveau suite au Grand Incendie de décrit comme « Mr. Albertus Brian, ce célèbre Comme la musique pour clavier de ses presque raconte l’apocryphe de Gibbons réprimandant le Londres en 1666. Son emploi rémunéré à St Paul organiste aux doigts de velours ». Matthew Locke contemporains tels que Locke, John Moss et John virtuose de clavier allemand Froberger pour avoir ne dura en fait que huit ou neuf ans, bien qu’il ait considérait Bryne comme un bon compositeur Roberts, les suites de Bryne occupe une position trop soufflé l’orgue au mariage de Charles II. Wood détenu ce poste de l’âge de 17 à environ 45 ans. soutenant la comparaison avec Bull et Orlando unique entre « l’âge d’or » des virginalistes anglais qualifia Gibbons de « vieux débauché » : un point Après le Grand Incendie, il succéda à Christopher Gibbons, et Anthony Wood le décrivait pour sa et des voix très individuelles du Baroque anglais à de vue confirmé par une remarque manuscrite sur Gibbons comme organiste de Westminster Abbey part comme « un excellent musicien ». En mai la fin du siècle. On espère que cet enregistrement le couplet en fa majeur « ivrogne de Catherine mais seulement pendant les deux dernières années 1660, Bryne implora Charles II pour qu’on le et l’édition à venir de cette musique permettront Wheele ». de sa vie. Ce sont ces circonstances qui peuvent nomme organiste de la Chapelle Royale, mais de réparer trois siècles de manque d’intérêt pour © 2007 Terence Charlston expliquer aujourd’hui une certaine obscurité de sa aucun registre ne confirme son poste, ce qui nous ses œuvres. (Traduction Florence Yeoman) part. force à croire que sa demande fut rejetée. Pour replacer la musique de Bryne dans son contexte, Pendant les années de guerre civile et la crise Bryne mourut le 2 décembre 1668 à Westminster, ce CD inclut le célèbre Prélude en sol majeur de politique qui en résulta, Bryne ne se laissa pas aller à mais l’emplacement de sa tombe est inconnu. On Bull, ainsi que deux morceaux anonymes écrits à

Page  Page  Bryne war während der Bürgerkriegsjahre und Bryne starb am 2. Dezember 1668 in Westminster, können, die drei Jahrhunderte währende Vernachläs- Albertus Bryne den darauf folgenden administrativen Wirren obwohl der Ort seiner Grabstätte nicht bekannt sigung seiner Musik wieder gut zu machen. Keyboard Music keineswegs untätig geblieben, obgleich in dem ist. Die Gegenstände in seinem Haus in Battersea Thus times do shift,—each thing his turn does hold; politischen Klima jegliche musikalische Anstellung wurden auf £200 geschätzt und seinen drei Kindern Um Brynes Musik in einen Kontext zu setzen, en- New things succeed, as former things grow old. an Kirchen untersagt war. Der größte Teil seiner Albertus, Elizabeth und Mary hinterlassen. Unter thält diese CD John Bulls berühmtes Präludium in erhalten gebliebenen Tastenmusik ist eher Haus- als den häuslichen Vermögenswerten befanden sich G-Dur und zwei unbekannte Stücke aus einer frühen Robert Herrick ‘Ceremonies for Candlemas Eve’ from Hesperides (1648) Kirchenmusik und stammt höchstwahrscheinlich zwei Orgeln und einige nicht identifizierte Gegen- Quelle von Bryne. Das Präludium gehört zu den am aus dieser Zeit. Möglicherweise hat Bryne, wie viele stände, vielleicht Zupfinstrumente, die zusammen meist verbreiteten Kompositionen im Repertoire. Um 1621 in England geboren, erlebte Albertus Bryne seiner Kollegen, Zuflucht im Westen des Landes auf £30 geschätzt wurden. Sein Sohn Albertus bezog Es war ein beliebtes Stück für Anfänger und gehört zu seinen Lebzeiten die unruhigen Jahre des eng- gesucht und Hochburgen der Royalisten, wie z.B. weiterhin das Gehalt seines Vaters von St. Paul’s häufig zu den ersten Lektionen im Übungsbuch für lischen Bürgerkriegs, die Errichtung der englischen Oxford, Hereford, Ludlow oder Südwestengland Cathedral und ein Organist gleichen Namens, der Virginalspieler. Die namenlosen Tänze, insbesondere Republik, das so genannte Commonwealth und besucht. Mit Sicherheit hielt er sich während des aber nicht notwendigerweise die gleiche Person sein der alman (deutsche Tanz) veranschaulichen, wie die ersten Jahre der wieder hergestellten Monarchie Protektorats in London auf, da John Playford ihn muss, wird als Organist für das Dulwich College und sehr sich Brynes ausgereifte Musik von dem späten unter Karl II.. Er wurde an der St. Paul’s Cathedral im Musicall Banquet von 1651 als „exzellenten All Hallows Barking am Tower von London während Viginalistenstil weiterentwickelt hat. in London unter John Tomkins zum Chorsänger und fähigen Meister“ anführt, der dort Orgel und der 1670er Jahre angeführt. ausgebildet und übernahm um 1638 dessen Amt Virginal unterrichtete. Die CD beschließt mit drei Voluntaries von Chris- als Organist. Hätte Bryne nur einige Jahre länger gelebt und topher Gibbons, die Bryne vermutlich von seinem Zum Zeitpunkt der Restauration hatte er sich eine aktive Rolle in der Restauration gespielt, dann Vorgänger an der Westminster Abbey gehört hat. In seiner beruflichen Laufbahn erlitt Bryne mehrere einen guten Namen gemacht. In John Batchilers wäre die Londoner Nachwelt mit ihm und seiner Charakteristisch für die Orgelmusik der Restau- schicksalshafte Rückschläge. Zweimal verlor er seine Biographie The Virgin’s Pattern von 1661 über die Tastenmusik wahrscheinlich etwas respektvoller um- rationszeit wurden sie nur für eine einzige Orgel Anstellung an der St. Paul’s Cathedral, zuerst 1642, talentierte und viel bewunderte Gambenspielerin gegangen. Heutzutage ist seine Musik zum größten komponiert, d.h. sie werden nur auf einer Tastatur als mit Ausbruch des Bürgerkriegs die Gottesdienste Susanna Perwich wird berichtet, dass Bryne an der Teil vergessen. Das ist ein wirklich großer Verlust, gespielt, und ähneln im Stil Brynes eigenen Volun- eingestellt wurden, und dann ein weiteres Mal 1666 Schule der Familie Perwich in Hackney unterrich- denn ihre interessanten und gut ausgearbeiteten taries. Christopher Gibbons war eine schillernde nach dem Großen Brand von London. Obwohl er tete und Susannas Schwester Cembalounterricht Qualitäten wurden zu seiner Zeit und sogar bis weit Persönlichkeit mit einem glücklichen Leben, dass den Posten namentlich von seinem 17. bis zu seinem gab. Er wird beschrieben als „Mr. Albertus Bryne, in das 18. Jahrhundert hinein überaus geschätzt, gut dokumentiert ist. John Aubrey erwähnt ihn 45. Lebensjahr innehatte, war er in der Tat nur acht der berühmte Organist mit den Samthänden“. wie sich anhand der erhalten gebliebenen Kopien beiläufig in seiner Sammlung Brief Lives und Mat- oder neun Jahre an der Kathedrale erwerbstätig Matthew Locke hielt ihn für einen guten Kom- ermessen lässt. Ähnlich wie die Tastenmusik seiner theson berichtet von einer zweifelhaften Geschichte, gewesen. Nach dem Großen Brand übernahm er die ponisten, der sich durchaus mit Bull und Orlando unmittelbaren Zeitgenossen, z. B. Locke, John Moss der zu Folge Gibbons den deutschen Tastenvirtuosen Nachfolge von Christopher Gibbons, dem zweiten Gibbons vergleichen lassen kann, und Anthony and John Roberts, nehmen auch Brynes Suiten eine Frohberger beschimpft haben soll, die Orgel bei der Sohn des bedeutenden Komponisten Orlando Wood nannte ihn „einen hervorragenden Musiker“. einzigartige Stellung ein zwischen dem „Goldenen Hochzeit von Karl II zu überwältigend gespielt zu Gibbons, und wurde Organist an der Westminster Im Mai 1661 ersuchte Bryne bei Karl II. um eine Zeitalter“ der englischen Virginalkomponisten und haben. Wood nannte Gibbons ‘a grand debauchee’, Abbey, allerdings nur noch in seinen letzten beiden Anstellung als Organist an der Chapel Royal. Da den höchst individuellen Stimmen des englischen eine Bezeichnung, die durch die eigenhändig ge- Lebensjahren. Diese Folge von Ereignissen bietet es aber keinen Nachweis über seine Ernennung Barock gegen Ende des Jahrhunderts. Es ist zu schriebene Anmerkung „drunk from the Catherine eine mögliche Erklärung dafür, warum er bis heute gibt, muss angenommen werden, dass sein Wunsch hoffen, dass diese Aufnahme und die in Kürze Wheele“ an dem Vers in F-Moll bekräftigt wird. verhältnismäßig unbekannt geblieben ist. unerfüllt geblieben war. erscheinende Edition einen Beitrag dazu leisten © 2007 Terence Charlston (Übersetzt von Claudia Schottlander) Page  Page  Sources Edition

GB-Ob Mus.Sch.Ms. D.219 , tracks 10–22 and 39. Albertus Bryne: Keyboard Music. Performing erence Charlston was born in Blackpool, Lancashire and GB-Och 1236, tracks 1 and 38. Edition by Terence Charlston and Interactive Tstudied organ and harpsichord in Oxford and London. GB-Och 1142(A), track 42. CD-ROM by Heather Windram and Terence As a solo harpsichordist and chamber musician he has toured GB-Och 1177, tracks 7–9. Charlston, Oslo: Norsk Musikforlag A/S, 2007. extensively within Europe, as well as to Japan, USA and South GB-Och 1179, track 40. America. His sympathetic command of original harpsichords, GB-Lbl Add. Ms. 34695, track 30. organs, pianos and clavichords has made him a frequent GB-Lbl Add. Ms. 31465, tracks 31–33. performer at collections of early keyboard instruments. For GB-WB Mus. MS P.10. track 41. Acknowledgements the National Trust, he has recorded all the playable keyboard J-Tn N-3/35, tracks 34–37. instruments of the Fenton House Collection in Hampstead, US-Cn Case MS VM 252 P72 V.1, track 29. Special thanks to Mark Harrison, John Bamford London. He is well known to chamber music audiences US-NYp Drexel Ms. 5611, tracks 23–28. and all at St. Botolph’s Aldgate for making their through his work with the quartet London Baroque with Musicks Hand-maid, 1663/1678, tracks 2–6. magnificent instrument readily available for whom he has given many concerts worldwide. practice and recording; to Alice Cherry for her hospitality and the Vicar, churchwardens and PCC He has taught academic studies, performance practice and Other recordings by Terence Charlston also of Holy Trinity Church, Weston for permission to founded the department of Historical Performance at the available from Deux-Elles record there; to Miles Hellon for the kind loan of Royal Academy of Music where he now teaches harpsichord, basso continuo and clavichord. He also lectures for the London Les Délices de la Solitude. F. Couperin, Rameau, his Haward spinet; to Alison Botterill for suggest- centre of Lawrence University, Wisconsin and has given master Forqueray, Duphly. DXL 917 ing the cover picture; to Heather Windram for her invaluable help in preparing the musical edition; classes in Italy, Germany, Greece, USA and Mexico. Italian Concerto. A Recital of Music by J. S. Bach. to the Principal, staff and students of the Royal DXL 1017 Academy of Music for encouraging my interest Matthew Locke. The Complete Keyboard Works. in Restoration keyboard music and for hosting DXL 1047 innumerable concerts and presentations.

This CD is dedicated to Jim Rafferty (1941–2006), teacher and musician who lived for music, gave selflessly and inspired all who knew him.

Page  Page 10 E Single manual harpsichord after Ioannes O Organ by Renatus Harris, 1702–04 at St. Botolph’s Aldgate, Couchet, Antwerp, 1645 (Russell restored by Goetze and Gwynn, 2006. Compass of Great and Collection, Edinburgh, Catalogue No Choir: GG C AA D – d³ (52 notes). HS3-IC1645.7) made by David Evans, Henley, 2005. Two registers (8’ and 4’) and buff stop. Compass: C D-c3 (48 notes). Tuned in 1/4 coma meantone at A=415 Hz.

GREAT CHAIR It can be argued that this is England’s oldest surviving church organ. Although there are older *Open Diapason (8’) *Stop Diapason (8’) pipes and cases, this is the oldest collection of pipes *Stop Diapason (8’) *Principal (4’) in their original positions on their original wind *Principal (4’) *Flute (4’) chests. It looks as if the organ dates from shortly Twelfth (2 2/3’) before 1704–5, when Renatus Harris was paid for *Fifteenth (2’) the Trumpet and Echos. In 1744 the organ was *Sexquialtra IV stored while the new church by George Dance was * indicates pipes which are largely original. Only being built. those stops used in this recording are shown. The instrument was restored by John Byfield the S Spinet after Charles Haward Pitch: A=442 Hz. Temperament: 1/6 comma elder and rebuilt by Hill in 1866, Bishop in 1898 (c.1680) made by Miles Hellon, meantone based on Harris’s own recommendations and Mander in 1966. Thanks to the Heritage 1979. Compass: GG C AA as reported by Godfrey Keller (GB-Gu MS. Euing Lottery Fund it has now been restored as far as D-c3 (50 notes). Tuned in 1/4 R.d.39. c.1700). possible to its original disposition. coma meantone at A=440 Hz.

Page 11 Page 12 Track Edition Track Edition   Toletole G Suite in D minor G 26 6 Allmaine G Double manual harpsichord after Ioannes Suite in A minor G 27 7 Corant Ruckers, 1624 (Unterlinden Museum,   Ayre 28 8 Saraband Colmar) made by Andrew Garlick, Buckland 3 3 Corant St. Mary, 1998. Three registers (two 8’and one 4 4 Saraband 29 9 Saraband E 4’), one buff stop on each unison register and 5 5 Ayre arpichordum stop to the front 8’. Compass: 6 6 Saraband 30 30 Voluntary in A minor O GG AA-d3 (53 notes). Tuned in 1/4 coma Suite in F major E Suite in D major S meantone at A=415 Hz. 7 7 The Kings Ayre 31 C3 Almand in D# 8 8 Corant with doubles 32 C4 Corant 9 9 Saraband 33 C5 Saraband Suite in D minor G 10 0 Almain 34 C1 Towle Towle (Anon) E   Corant 35 Preludium (John Bull) E   Saraband 13 3 Jigg Allmaine 36 An Alman (Anon) E

Suite in D major G 37 The Earle of Oxfordes Gallene 14 4 Almain (Anon) E 15 5 Corant 16 6 Saraband 38  Totetole O 17 7 Jigg Allmaine 39  A ground to ye organ Suite in A minor G or harpsichord O 18 8 Almain 19 9 Corant Christopher Gibbons (1615–76) 20 0 Saraband   Three voluntaries for the   Jigg Allmaine single organ O   A ground to ye organ or harpsichord 40 in A These works appear in a new edition by Suite in D major E Terence Charlston and Heather Windram 4 Verse for ye single organ in D 23 3 Allmaine 4 Verse in F published by Norsk Musikforlag A/S 24 4 Coranto www.norskmusikforlag.no 25 5 Saraband – improvised Jig-Almain

Page 13 Text in italics is not original. Page 14 Deux-Elles Albertus Bryne DXL 1124 Terence Charlston Harpsichord, Organ, Spinet

1 Toletole 0:59 Suite in A minor Suite in D major Suite in A minor 18 Almain 2:25 31 Almand in D# 2:16 19 32 2 Ayre 1:25 Corant 1:32 Corant 1:27 20 33 3 Corant 0:54 Saraband 1:54 Saraband 1:39 21 4 Jigg Allmaine 1:35 Saraband 1:00 34 1:08 22 Towle Towle (Anon) 5 Ayre 1:03 A ground to ye organ 6 Saraband 0:44 or harpsichord 3:37 35 Preludium (John Bull) 0:33

Suite in F major 36 Suite in D major An Alman (Anon) 1:32 7 The Kings Ayre 0:57 23 Allmaine 2:26 8 Corant with doubles 1:10 37 The Earle of Oxfordes Gallene 24 Coranto 1:05 9 Saraband 0:45 (Anon) 1:09 25 Saraband & improvised Suite in D minor Jig-Almain 2:59 38 Totetole 0:58 10 Almain 2:23 11 Corant 1:14 39 A ground to ye organ Suite in D minor 12 Saraband 0:51 or harpsichord 1:55 26 Allmaine 3:02 13 Jigg Allmaine 1:26 Christopher Gibbons 27 Corant 1:13 Three voluntaries for the Suite in D major 28 Saraband 1:29 14 Almain 2:17 single organ 15 Corant 1:23 29 Saraband 1:06 40 in A 1:20 16 Saraband 1:34 41 Verse for ye single organ in D 2:47 30 Voluntary in A minor 2:47 17 Jigg Allmaine 1:40 42 Verse in F 2:30

Recording Producer John Taylor and Terence Charlston Recording Engineer John Taylor Booklet Notes Terence Charlston Recorded at Holy Trinity Church, Weston, Hitchin 26th, 27th July and at St. Botolph’s Aldgate 19th November 2006. Cover Image: Two Boys before an Easel, att. to van Oost, The National Gallery, London. C P 2007 Deux-Elles Limited, Reading, UK. www.deux-elles.com