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Description
The nineteenth century revived much of the uusic of the European past. But it was left largely to the twentieth century to rediscover the instruments for which earlier music had originally been ...created. Inflated, nineteenth century versions of earlier music frequently obscured the essence of the original work. The question of the right instrument is not merely an academic one. On the other hand, it is one to which there are not always simple right or wrong answers. Dr. Gerald Hendrie, reader in music at the Open University, himself a distinguished keyboard player and an authority on early keyboard music, discusses these questions and illustrates then by playing the work of Bach and Handel, first on piano and nineteenth century romantic organ, then on instruments of the type they were originally written for - harpsichord, clavichord and an organ at Adlington Hall in Cheshire which Handel himself knew and played and which has been restored recently to its original state by Mr. Noel Mander.
The nineteenth century revived much of the uusic of the European past. But it was left largely to the twentieth century to rediscover the instruments for which earlier music had originally been ...created. Inflated, nineteenth century versions of earlier music frequently obscured the essence of the original work. The question of the right instrument is not merely an academic one. On the other hand, it is one to which there are not always simple right or wrong answers. Dr. Gerald Hendrie, reader in music at the Open University, himself a distinguished keyboard player and an authority on early keyboard music, discusses these questions and illustrates then by playing the work of Bach and Handel, first on piano and nineteenth century romantic organ, then on instruments of the type they were originally written for - harpsichord, clavichord and an organ at Adlington Hall in Cheshire which Handel himself knew and played and which has been restored recently to its original state by Mr. Noel Mander.
| Module code and title: | A100, Humanities: a foundation course |
|---|---|
| Item code: | A100; 28 |
| First transmission date: | 08-08-1971 |
| Published: | 1971 |
| Rights Statement: | |
| Restrictions on use: | |
| Duration: | 00:24:37 |
| + Show more... | |
| Producer: | Alasdair Clayre |
| Contributor: | Gerald Hendrie |
| Publisher: | BBC Open University |
| Keyword(s): | Adlington Hall; Bach; Clavichord; Harpsichord; Mendelssohn; Music; Organ |
| Footage description: | Gerald Hendrie plays on piano the Sarabande from Bach's 1st french suite. Hendrie outlines the programme. He will consider (1) Are the notes played those of the composer? (2) Is the instrument on which the piece is played either specified by the composer or suitable to the music. Hendrie demonstrates the mechanism of the harpsicord and an excerpt from Bach's Italian Concerto. He also demonstrates the unsuitability of most piano music for the harpsicord by playing a few bars on the harpsicord of a Chopin Nocturne. Hendrie demonstrates the mechanism of the clavichord and plays the Sarabande from Bach's 1st French suite. Hendrie now discusses authenticity in musical performance. Hendrie demonstrates the organ by playing an organ concerto movement in a 19th century version by W.T. Best, of a work by Handel and on a 20th century organ. Shots of Woburn church and organ. Hendrie plays the piece of Handel's organ concerto on an organ which Handel himself played at Adlington Hall, Cheshire. Hendrie describes the organ and its history and declares his confidence in the authenticity of its sound. Hendrie demonstrates once again the character of the older organ by playing a trumpet tune by John Stanley. The programme is summarised by Hendrie. Shot of portrait of Bach at the organ. Excerpt from Bach's Italian Concerto played on the harpsicord. |
| Master spool number: | 6LT/70224 |
| Production number: | 00520_1328 |
| Videofinder number: | 2439 |
| Available to public: | no |
