While reviewing my old documents, I discovered the program for my first solo harpsichord recital, which I gave before my 19th birthday during my second year of studies. My repertoire included works by Froberger, Bach, and Sweelinck, as well as compositions by John Mundy and William Byrd from the Fitzwilliam Virgin Book. These pieces attracted me with their powerful impact, even though my performance wasn't flawless. I used to take walks with my mentor, George Houle, where we would philosophize about the cultural relevance of musicians in Shakespeare's time.
Over time, I deepened my understanding of the Fitzwilliam Virgin Book and other historical music collections and manuscripts, which opened up new perspectives on this repertoire. My musical development was significantly enhanced by collaborating with renowned harpsichordists such as Peter Watchorn and Zuzana Růžičková. This genre of music touches me on a profound, not merely intellectual, level. The virginalist tradition is multifaceted and includes musicians from outside England as well.
Farnabry fantasias by Farnaby and Bull, as well as Byrd's Hexachord Fantasy, demonstrate the defining elements of the virginalist style. These compositions reveal the creative range and multifaceted complexity of this genre. The artistic power and cultural influences of this era continue to fascinate us today.
Performing such historical pieces of music presents a particular challenge, as they are no longer heard in their original context. It's important to remember that these works were once part of a vibrant cultural sphere. Nevertheless, this music moves me in a way that is difficult to put into words. It conveys a sense of deep human connection and artistic inventiveness.