I once stayed in the same B&B as Colin Tilney, at a long-ago Edinburgh Festival, and have been delighted to see, ever since, that others too have recognised his genius. These immaculate recordings are a tribute to the wonderful musicianship of this artist. There should be more of them!
So good to hear this early vinyl recording of Colin Tilney. Just an observation- that the harpsichord on the front cover is the John Crang claviorgan (London, 1745) which was probably at the date of recording in Dr Rodger Mirrey's possession in Redhill, Surrey. Is this the instrument played on the disc perhaps? The instrument is now part of Rodger and Ann Mirrey's remarkable early keyboard collection which generouly gifted to the University of Edinburgh in its entirety in 2004. The Crang is not currently on display, nor in playing order, but it is a beautifully designed and built instrument. The original organ component is now lost. Thank you so much for posting this.
Sorry to be late on the scene: indeed the instrument on the recording is the Crang. A very early example of the standard 'English 18th-century harpsichord'. Tonally magnificent (just listen to the Arne's big octave passages). I owned the original record, which contained the smallest insert I've ever seen. Good to know that the instrument is still with us.
Fabulous playing. Somehow Tilney never got the international recognition he quite obviously deserved. Speaking strictly for myself, I consider him the world's foremost living harpsichordist by far (see his fairly recent recording of the Bach Partitas).
The rest of the documentation (reserved space was not enough): The last pre-Restauration keyboard publication (1655) was yet another edition of the great virginal anthology, Parthenia, which originally appeared in 1612, but the spirit of the time was more truly reflected eight years later in John Playford's Musicks Hand-Maide - "new and pleasant Lessons, which are not only Easie but Delightfull for young Practitioners, being most of them late Tunes and Dances set to the virginals after the newest mode". This new, chiefly French, style persisted in England until well into the eighteenth century, acquiring a more English robustness in the hands of Blow, Purcell and their pupils, and also a greater internationalism through the introduction of Italian elements: measured preludes, correnti and strongly rhythmic airs. Handel's First Collection appeared in 1720 and soon became firmly established as the favourÏte model for composers and performers. Although French influence can still be cfearly felt, it was the nobility and grandeur of Handel's Italianate fugues and variations and his large-scale melodic writing that appealed to, a public which doted on Italian opera. With the publication in 1738 of Domenico Scarlatti's 30 Essercizi a new and equally attractive model arrived on the English scene, and finally the emergence of the galant style as a relief from Baroque pomp and circumstance brought out a last remarkable flowering before the early years of Classicism. A minor art in a peripheral country, perhaps, but auch kleine Dinge .... 1969 Colin Tilney
And through their music they live forever. Oh to be in this period when England was England and not the cess pit of filthy and diluted national identity it is now. I weep for England. My soul will forever be English.
It was my pleasure to rediscover this precious jewel again which I did not hear for ages myself. Especially the Draghi ground is a clear favorite of mine
I once stayed in the same B&B as Colin Tilney, at a long-ago Edinburgh Festival, and have been delighted to see, ever since, that others too have recognised his genius. These immaculate recordings are a tribute to the wonderful musicianship of this artist. There should be more of them!
I‘m doing the best I can to preserve these precious jewels for future generations
Again magnificent, and thanks for the upload. The LP had the smallest 'insert' I've ever seen - a sheet of paper about the size of a postcard!!!
You lucky guy! My one was without the insert as mentioned in the description but I am glad I only missed some information as big as a postcard ;-)
So good to hear this early vinyl recording of Colin Tilney. Just an observation- that the harpsichord on the front cover is the John Crang claviorgan (London, 1745) which was probably at the date of recording in Dr Rodger Mirrey's possession in Redhill, Surrey. Is this the instrument played on the disc perhaps? The instrument is now part of Rodger and Ann Mirrey's remarkable early keyboard collection which generouly gifted to the University of Edinburgh in its entirety in 2004. The Crang is not currently on display, nor in playing order, but it is a beautifully designed and built instrument. The original organ component is now lost. Thank you so much for posting this.
Thanks for the extra info.
Sorry to be late on the scene: indeed the instrument on the recording is the Crang. A very early example of the standard 'English 18th-century harpsichord'. Tonally magnificent (just listen to the Arne's big octave passages). I owned the original record, which contained the smallest insert I've ever seen. Good to know that the instrument is still with us.
Thomas Roseingrave {1690-1766) 19:48 Overture
The tune "La Furstenberg" - Anonyme du XVIIe siècle
-- Purcell
-- Corrette
🎼💖Grazie!
Fabulous playing. Somehow Tilney never got the international recognition he quite obviously deserved. Speaking strictly for myself, I consider him the world's foremost living harpsichordist by far (see his fairly recent recording of the Bach Partitas).
Yes he did some wonderful recordings. Thanks for letting us know about the Partitas. Worth investigating.
The rest of the documentation (reserved space was not enough):
The last pre-Restauration keyboard publication (1655) was yet another
edition of the great virginal anthology, Parthenia, which originally
appeared in 1612, but the spirit of the time was more truly reflected
eight years later in John Playford's Musicks Hand-Maide - "new and
pleasant Lessons, which are not only Easie but Delightfull for young
Practitioners, being most of them late Tunes and Dances set to the
virginals after the newest mode". This new, chiefly French, style
persisted in England until well into the eighteenth century, acquiring a
more English robustness in the hands of Blow, Purcell and their pupils,
and also a greater internationalism through the introduction of Italian
elements: measured preludes, correnti and strongly rhythmic airs.
Handel's First Collection appeared in 1720 and soon became firmly
established as the favourÏte model for composers and performers.
Although French influence can still be cfearly felt, it was the nobility
and grandeur of Handel's Italianate fugues and variations and his
large-scale melodic writing that appealed to, a public which doted on
Italian opera. With the publication in 1738 of Domenico Scarlatti's 30
Essercizi a new and equally attractive model arrived on the English
scene, and finally the emergence of the galant style as a relief from
Baroque pomp and circumstance brought out a last remarkable flowering
before the early years of Classicism. A minor art in a peripheral
country, perhaps, but auch kleine Dinge ....
1969 Colin Tilney
The still small voice once created from nothing in the mind of a single person, resonating down the centuries to me, in my loneliness.
The Draghi has so much in common with the Purcell Ground that Landowska played and recorded. Wonder which is which. . .?
And through their music they live forever. Oh to be in this period when England was England and not the cess pit of filthy and diluted national identity it is now. I weep for England. My soul will forever be English.
Thank you so much for this.
I am glad you like it too ;-)
Sublime......♥♥♥
wonderful, thank you so much!!
It was my pleasure to rediscover this precious jewel again which I did not hear for ages myself. Especially the Draghi ground is a clear favorite of mine