What a charming instrument. Josquin was one of the leading composers of his day, but I had not previously heard anything by him. The sound is very pleasing.
I have made four of these Italian pentagonal spinets based on the Queen Elizabeth Virginal in the V and A museum. To a greater or lesser degree the tapping technique is necessary especially in the bass where the vertical movement of the jacks is less, combined with the larger diameter of the strings. So in all a totally authentic performance. I don’t see how it could change the tone or the volume much. Historic instruments present problems that subsequent designs overcome. The tone of original antique Italian spinets is lovely despite their limitations.
Of course it will! But... Gamba Gagliarda is a ‘ballo’, and I play it according to Girolamo Diruta: jumping and tapping with the fingers. In “Il Transilvano Dialogo”, Girolamo Diruta points out the differences between pressing and tapping (the former suitable for the organ, the latter suitable for pluck instruments), between organists and 'ballroom players', between the way of playing 'musical things' on organs and the way of playing dances on the harpsichord, which requires 'jumping, & tapping with the fingers'.
@@bifeldmanNot really, there are texts that survived until today that show that in the medieval era they gave a huge importance to singing/playing in tune
@@KandiKlover Yes, of course. In my other comment I was talking about the relations between the played/sung notes in polyphonic music. Also, A=415 wasn't a standard in the baroque era, there were various pitch levels at that time (both higher and lower than A=440). This video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-si6QNVn40GM.htmlsi=TxhlwUtTXMi1kttY explains really well how we came to use A=415 for early music. For a deeper dive, the book A History of Performing Pitch is a comprehensive source about what we know about the pitch levels that were used throughout history
“Adieu mes amours” is a 4 voices chanson, here ‘entabulated’, i.e. put in a polyphonic score for a keyboard instrument. Each polyphonic voice has its separate row. The cantus is written in mensural notation in the upper staff, the other voices (altus, tenor, bassus) are written by letters (indicating the pitches) and other symbols for the duration.
