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557864bk Philips US 11/7/06 3:05 pm Page 4 Elizabeth Farr Peter Elizabeth Farr specialises in the performance of keyboard music of the seventeenth and eighteenth centuries. She has performed solo recitals on the harpsichord, organ, and pedal harpsichord to critical acclaim throughout the United States and in Germany. Her PHILIPS performances as a collaborative artist, concerto soloist, and basso-continuo player have (1560/61–1628) also earned high praise. Her recording of Elisabeth-Claude Jacquet de La Guerre’s Suites Nos. 1-6 for Harpsichord (Naxos 8.557654-55) was awarded the Preis der deutschen Schallplattenkritik, Bestenliste 1/2006. Elizabeth Farr holds degrees in harpsichord and organ performance from Stetson University, the Juilliard School, and Harpsichord Works the University of Michigan, having studied with Paul Jenkins, Vernon de Tar, and Edward Parmentier. Currently she is on the faculty of the University of Colorado where Fantasia in F • Bonjour mon cœur • Io partirò she teaches harpsichord and organ, conducts the Early Music Ensemble, and offers classes in performance practices and basso-continuo playing. Elizabeth Farr The Harpsichord Jerome de Zentis was a consummate musical instrument-maker. He built instruments first in Rome, then in Florence for the Medici family, London as the ‘King’s Virginal Maker’, Stockholm as the instrument-maker to the court, Viterbo for the Pope, and finally in Paris for the King of France. The instrument used in this recording is one he made upon his return to Italy after ten years in Sweden as the instrument-maker royal to Queen Christina. This instrument is unusual because it is clearly an Italian instrument, but appears to have been made by a North German maker, or at least an Italian maker who was fully informed of the Northern European harpsichord-making practices and materials. This evidence came to light during the restoration. It was once thought that this particular instrument was not by de Zentis, even though it bears his signature on the jack rail. The doubt was understandable because it was a common practice among instrument-makers from the fifteenth to the eighteenth century as well as fakers in the nineteenth century to cannibalise dilapidated instruments in order to make new instruments from the remaining parts. The new evidence gathered during restoration, however, together with the outstanding tone quality of this instrument should be enough to dispel any doubt as to its authenticity. It is a work of genius. Keith Hill For more information about the instrument, please visit the following web address: http://www.keithhillharpsichords.com/1658dezentis.html 8.557864 4 557864bk Philips US 11/7/06 3:05 pm Page 2 Peter Philips (1560/61–1628) recording. The Fantasia in F major (1582) and Fantasia Typically, pavans and galliards are composed in Harpsichord Music in D minor (date unknown) may also be intabulations. three sections, each of which is normally followed by a They appear, by their style, to have been inspired by repetendum (variant). The Passamezzo Pavan and Peter Philips was born Catholic in Protestant England poetic texts speak of love: being smitten, being rejected, vocal models, although viol consort pieces were also Galliard is expanded into something more like a set of around 1560. He left England in 1582, following his and the double entendre pain of love’s end. These frequently turned into keyboard intabulations. Whatever variations. The Pavan contains seven sections, each studies with William Byrd, in order to learn the Italian beautiful texts often rapidly change emotion or affect. their source, each is affectively rich in content. sounding the individual notes of the ground bass pattern musical style in Rome. There he lived at the English Such shifts in mood include effusive outpourings of Of his ten dance compositions, some in pairs, the rather slowly by units of four whole notes in length. The College, along with other refugees from English politics love, adoration, wistful sighs, eagerness, smiling, Pavan 1580 is Philips’ earliest surviving work. The Galliard presents the notes of the ground bass ten times and religious persecution. In 1585 he entered the service weeping, crying out in pain, resignation and loss, quiet Paget Pavan and Galliard may have been composed on in units of two dotted-whole notes (semibreves) in of Lord Thomas Paget, another English Catholic, and suffering, bitterness and irony. Philips strives in his the occasion of Lord Paget’s death in 1590. The choice length. Many styles and affects are expressed throughout travelled extensively throughout Europe. By 1591 he intabulations to match the changing affects of the texts of key, use of altered tones, and affect of sweet sadness the ‘variations’. Sections nine and ten of the Galliard are had settled in Antwerp and married. His wife Cornelia through shifts in mood, mode, rhythm, range, and and longing are appropriate for this work of homage to labelled Saltarella, and crown the composition with died a year later, and his only child, Leonora, in 1599. figuration. a patron. Philips’ Passamezzo Pavan and Galliard excitement, vigour, and energy. Philips, a member of the Brussels court since 1597, Programmatic effects abound in all of the (1592) is founded on the popular ground bass pattern, entered the priesthood and was ordained in 1609. intabulations. In Le Rossignuol, the soaring and passamezzo antico, the same ground heard in the None of Philips’ keyboard music was published swooping lines of a bird in flight express the caged bird familiar tune, Greensleeves. during his life-time, although his music was very well remembering his freedom, and pining for it. In Bonjour, Elizabeth Farr known and quite popular. Several pieces for organ stem mon cœur one effusive term of endearment follows from his later years, but he composed no more secular another until the beloved is addressed, with the use of music - consort works, secular vocal works, or strange chromatic tones and surprising rests, as ‘ma harpsichord works - after becoming a priest. Nineteen of douce rebelle’. Chi farà fed’ al cielo has a clear his 32 surviving keyboard works are included in the declamatory tone to match the defiant wail of its text. In famous Fitzwilliam Virginal Book, a large English the repetendum section in the second half of Amarilli, manuscript of the period. His complete keyboard works the poet implores his hesitant lover to open his chest exist in a variety of other manuscripts, as detailed by with an arrow, suggested musically by a darting David Smith in his comprehensive edition (Musica figuration of arrows in flight. Then she may see if, Britannica lxxv, 1999). indeed, her name is written on his heart, which is Keyboard intabulations (arrangements) of popular confirmed by the three-fold repetition of her precious Italian madrigals and French chansons account for name. fourteen, almost half, of Philips’ keyboard works. These Discernible in the trilogy of madrigals by Luca keyboard pieces include added idiomatic Marenzio, beginning with Deggio dunque partire, there embellishments such as trills, scales, and arpeggios, is an emotional progression from incredulity to anger to needed to express the vocal text with insight and ironic tenderness. A strong musical effect of repetitive understanding. This art form, expressing the feeling of music eventually ebbing and falling is heard at the end words without the words themselves, can sometimes of the second madrigal, Io partirò, with the words ‘ch’io better communicate the meaning of a vocal work than penserò restar di vita spento’. Philips’ own madrigal, were they to be sung. Philips made intabulations of Fece di voi, has a similar tone ‘per opra d’amore’, music by Giulio Caccini, Orlande de Lassus, Luca describing the fate of lovers ‘viver e morir di doppia vita Marenzio, and Alessandro Striggio, some of the most e morte’ by the clever juxtaposition of dual duple and famous and popular composers of vocal music of his triplet rhythms. Margot, labourez les vignes alternates day. Nine of these settings are heard on this recording, an energetic refrain with sections in a more rhetorical including an intabulation of one of his own madrigals. style to tell a bawdy story. Throughout the vocal repertoire in this genre, the Two of Philips’ three fantasias are heard on this 8.557864 2 3 8.557864 557864bk Philips US 11/7/06 3:05 pm Page 2 Peter Philips (1560/61–1628) recording. The Fantasia in F major (1582) and Fantasia Typically, pavans and galliards are composed in Harpsichord Music in D minor (date unknown) may also be intabulations. three sections, each of which is normally followed by a They appear, by their style, to have been inspired by repetendum (variant). The Passamezzo Pavan and Peter Philips was born Catholic in Protestant England poetic texts speak of love: being smitten, being rejected, vocal models, although viol consort pieces were also Galliard is expanded into something more like a set of around 1560. He left England in 1582, following his and the double entendre pain of love’s end. These frequently turned into keyboard intabulations. Whatever variations. The Pavan contains seven sections, each studies with William Byrd, in order to learn the Italian beautiful texts often rapidly change emotion or affect. their source, each is affectively rich in content. sounding the individual notes of the ground bass pattern musical style in Rome. There he lived at the English Such shifts in mood include effusive outpourings of Of his ten dance compositions, some in pairs, the rather slowly by units of four whole notes in length. The College, along with other refugees from English politics love, adoration, wistful sighs, eagerness, smiling, Pavan 1580 is Philips’ earliest surviving work. The Galliard presents the notes of the ground bass ten times and religious persecution.

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