Thank you!!

@@thebrookstreetband3664 Very welcome.

Thank you so much, glad you enjoyed our interpretation

Thank you so much, glad you enjoyed it!

Thank you so much for your kind comments. I have passed them on to Rachel, and she thanks you too. May I ask, are you a violinist too?

@@thebrookstreetband3664 Yes, I'm a violinist myself. Recently I got very interested in the baroque violin style of playing (I come from a traditional modern school) and I found this gem of a channel. So much depth to be explored within the pieces of this period is mindblowing. Thank you for providing this content for free!

You're very welcome!

Thank you Liz!

Thank you so much Mark, looking forward to seeing you too in Norfolk.

Thank you Liz! Sorry to hear you've had a tough time x

Glad you liked it!

Thank you!

Thank you!

You're very welcome!

Thank you! Glad you found the film useful.

The strings are a mixture of brass and iron, the brass being used for the bass strings

The piece is by Salomone Rossi (c.1570-1630): Sonata ottava sopra L’Aria è tanto tempo hormai. This particular sonata was published in 1642 in his 4th book.

@@baroquefiddler Many thanks, that it was an early 17th century Italian piece I understood but not the composer. However, it was more a criticism towards the scarcity of information and poor communication of the manager of this site.

apologies, the information should now be available.

thank you so much!

thank you!

Thank you!

Yes, guess it was, and still is!

Johann Sebastian Bach had drawers filled with crowfeather's to replace the plectra and they didn't break too fast. People brought him crow feathers when they would find a dead one or kill one. The traditional little wire type spring for the back of the Jack was made out of the hair of a wild boar and a very similar substitute is fishing line

@@Lifecomesfromwithin thank you for this information. And of course today, plectra are often made from delrin

@thebrookstreetband3664 yes very true I used Delrin plectra also. Bach used to pick the largest Crow quills that would fit and cut them almost flat at the end so they had as much strength as possible and I think they are harder than Delrin by a little bit that way. I want to get a wooden Jack replacement that uses Crow quills on my harpsichord someday

Bach may have helped other people with their harpsichords like a repairman but most people pretty much had to tune it and maintain it themselves. Part of owning a harpsichord was knowing how to tune it restring it and make your plectra. Bach would sometimes ask the maker for help being Rucker's,

Thank you so much!

@@thebrookstreetband3664 Au contraire❗Thank *you* for this wonderful performances! 🤩

thank you!

Modern reproduction makers are into a lot of paint these days which is semi traditional. What would you prefer? If you put together a harpsichord kit you could finish it however you want

@@Lifecomesfromwithin i prefer the rainbow colors.

@@kenansari well it is rainbow colors actually all it's missing is green

@@kenansari I prefer the look of the original Virginal of Queen Elizabeth the first

thank you!

It's a very different technique, but yes the notes are same same. Harpsichord keys are narrower than piano keys and are not weighted, so feel very different.

Yes the feel is very different. I played nothing but a harpsichord for years and the mistake notes are just as loud as the notes you want. On a piano a mistaken note is a lot of times softer but on the harpsichord they would ring right out just as loud as everything else and it makes me scared to make a mistake so it made me play a lot better. I play piano presently but there's so much effort involved in throwing the Hammers and kind of slamming the key that you don't have with the harpsichord which saves your energy and focus for the music.

Sometimes, but not always. The sizes weren't standardised in the 18th century. The Strad Magazine has some wonderful diagrams of cellos with all their measurements and one can see the huge variety between different makers.

Thank you Eugene. We will be able to list this information soon, so please do check again in a few days.

Treatises Vocal Bertrand de Bacilly ‘ Remarques curieuses sur l’art de bien chanter 1688 ks4.imslp.net/files/imglnks/usimg/f/f1/IMSLP224881-SIBLEY1802.14447.d301-Remarques_Curieuses_pt1.pdf Monteclair (in a section for singers, see link on woodwind treatises list) Woodwind - Marin Mersenne - Harmonie Universelle 1636 (this books represents the sum of musical knowledge during his lifetime) it is made of made different chapters including instruments and how to play them) For us the more interesting is part 2 published in 1637: ks4.imslp.net/files/imglnks/usimg/c/c7/IMSLP77439-PMLP156089-MersenneM_HarmUniv_Pt2_01.pdf Etienne Loulie - Methode pour apprendre a jouer da la flute douce - 1685 Jean-Pierre Freillon-Poncein - La veritable Manière d’apprendre a jouer en perfection de hautbois, de la flute douce est du flageolet - 1700 ks.imslp.net/files/imglnks/usimg/5/56/IMSLP531921-PMLP433179-Freillon-Poncein_J.P._-_La_v%C3%A9ritable_mani%C3%A8re..._du_hautbois,_1700.pdf Jacques Hotteterre - Principles de la flute Traversiere - 1707 ks4.imslp.net/files/imglnks/usimg/b/b9/IMSLP60623-PMLP124167-005hotteterre.pdf Jacques Hotteterre - L’art du preluder 1719 ks.imslp.net/files/imglnks/usimg/4/48/IMSLP279418-PMLP228362-lart_de_preluder2_hotteterre.pdf Michel Pignolet Monteclair - Principes de Musique - 1739 ks4.imslp.net/files/imglnks/usimg/9/96/IMSLP112030-PMLP149927-principes_de_musique.pdf Michel Correte - Methode Raisonnee pour aprendre aisement a jouer de la flute traversiere 1740 ks4.imslp.net/files/imglnks/usimg/f/fe/IMSLP285215-PMLP462950-corrette_methode_flute.pdf Bopismortier (lost- found a reference to it during my research but it has apparently been lost. If someone knows about it please kindly let me know!) Keyboard Couperin - L’art de toucher le clavecin (1716- first publication) ks.imslp.net/files/imglnks/usimg/2/21/IMSLP302585-PMLP09374-Couperin_-_L'art_de_toucher_le_clavecin_-1716-.pdf Books - Betty Bang Mather - Interpretation of French baroque Music from 1675 to 1775 - Betty Bang Mather - Dance Rhythms of the French Baroque - French Baroque music - J.R.Anthony - David Hennebelle - De Lully a Mozart - Aristocratie, Musique et Musiciens a Paris (17th and 18th Century) - Constant Pierre - Histoire du Concert Spirituel (1725-1790) - David Lasocki French Baroque flute series Lully and the Flute Charpentier and the flute -Michel Pignolet Montclair - Les Agreements - French Baroque ornamentation - Peacock press - The birth of the orchestra - Spitzer and Zazlow Thesis The French flute school from 1700-1760 Jane Bowers (PhD thesis - University of California, Berkeley, 1971

Hi Eugene, thank you very much for watching the Masterclass, we had a fantastic time doing it and I am so glad it is being enjoyed! I have now posted the resources I mention in the video. Hope it is helpful! All the best Lisete

@@lisetebull2296 marvellous. Thank you so much. Keep up the wonderful work

Thank you, and glad you enjoyed the film.

It originated from an early zither that was just strings stretched over a box plucked with two feathers held in the hand. They created a keyboard mechanism to make playing easier and the instrument had no real official name or music at first but played along with other stringed instruments and rolled the cords like they did. Traditional continuo music is based on that, taking the chord structure of the piece and arpeggiating it

Thank you so much for your lovely comments, so pleased you enjoy our interpretation of Handel!

So sorry for the delay in replying! Yes I believe you are indeed right, there are definite French elements to Purcell’s music and we know there were French woodwind makers in London, such as the Bressan family. This is a wonderful avenue to pursue and establishing definite links would be so very interesting. All the very best and thank you so much for your kind words. Lisete

Our pleasure!