82 – The man is blest
John Sheppard
Neutral Spinet Recording
Organ - chorale prelude
This recording was inspired by the chorale preludes of the German Baroque period. As with other recordings in this project like it, the left hand and pedal provide a gentle accompaniment to the solo 8’, 4’, 2⅔’, and 1⅗’ stops in the right hand. This particular combination of stops is very effective at transforming this music into an almost believable chorale prelude. The slower tempo and German style ornamentation directs all of the listener’s attention to the beautiful melody. Of the many chorale prelude transformations I have recorded in the project, I believe that this one is the most effective. The registration scheme and complementary ornamentation used in this performance completely reimagines this piece in a beautiful and unique way.
Chamber Organ - chord spreading
This recording on chamber organ makes use of chord spreading – a technique which is most commonly used on plucked string instruments. Chord spreading in combination with a rather slow choice of tempo leads to a very interesting reworking of this piece. While I am not completely convinced that the chord spreading works on the chamber organ, there is something charming about the sound which this technique produces. The beautiful tone of the 4’ flute stop is probably responsible for this charming sound. The gentleness of the chord spreading also helps to transform the lively nature of this piece into a much more delicate listening experience.
Harpsichord - lute
This recording is perhaps one of my favourite renditions of any work from The Mulliner book recorded during this project. The use of the harpsichord’s lute stop adds a tangible sense of “folkness” to this performance. The use of the lute stop, a broader tempo, and the generous spreading of chords creates a relaxed and gentle feeling for the listener – almost as though this piece were being performed for friends and family at one’s home.
Spinet - with voice
This vocal performance featuring soprano solo is accompanied on the spinet. This recording attempted to capture the entertainment and leisure aspect of Tudor music making. The Soprano solo is taken from the full choral score, while the spinet fills out the remaining choral parts. After all, not everyone has a full SATB choir at their disposal to perform music at home! The keyboard realisation is generously ornamented. The use of this ornamentation and the lively tempo aims to capture the joyousness of this piece. I believe that this recording successfully captured the private and intimate aspect of playing music for the sake of enjoyment as would have been done during the Tudor period.