krainaksiazek the works of thomas brooks vol 2 20130471
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Nichol's Series of Standard Divines, Vol. 2 Forgotten Books
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Excerpt from Nichol's Series of Standard Divines, Vol. 2: Puritan Period; The Works of Thomas Brooks To all the merchants and tradesmen of England, especially these of the city of London, with all other sorts and ranks of persons that either have or would have God for their portion, grace, mercy, and peace be multiplied. Such a word is, of all words, the most excellent, the most prevalent, and the most pleasant word that can be spoken; such a word is, indeed, a word that is like 'apples of gold in pictures of silver.' Of all words such a word is most precious, most sweet, most desirable, and most delectable. O sirs! to time a word, to set a word upon the wheels, to speak a word to purpose, is the project of this book. Though all truths are glorious, yet there is a double glory upon seasonable truths; and, therefore, I have made it my great business in this treatise to hold forth as seasonable a truth, and as weighty a truth, and as comfortable and encouraging a truth, as any I know in all the book of God. The mother of King Cyrus willed, that the words of those that spoke unto her son should be in silk, but certainly seasonable words are always better than silken words. Every prudent husbandman observes his fittest season to sow his seeds, and therefore some he sows in the autumn and fall of the leaf, and some in the spring and renewing of the year; some he sows in a dry season, and some he sows in a wet; some he sows in a moist clay, and some he sows in a sandy dry ground, as the Holy Ghost speaks, 'He soweth the fitches and the cumin, and casteth in wheat by measure,' Isa. xxviii. 25. And so all spiritual husbandmen must wisely observe their fittest seasons for the sowing of that immortal seed that Good hath put into their hands; and such a thing as this is I have had in my eye, but whether I have hit the mark or missed it, let the Christian reader judge. One speaking of the glory of heaven saith, 'That the good things of eternal life are so many that they exceed number, so great that they exceed measure, and so precious that they are above all estimation,' &c. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Fitzwilliam: Virginal Book, Vol. 3: Peter Philips, Sweelinck Brilliant Classics
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The Fitzwilliam Virginal Book is one of the most extraordinary manuscripts of Elizabethan and Jacobean music in existence, and is currently held at the Fitzwilliam Museum in Cambridge. Its exact origins are disputed, but it was compiled at some point in the late 16th century and contains an astonishing 300 pieces for virginal, a small harpsichord of the time. The historical importance of the book is enormous, not least for the range and variety of its pieces. They are also, though, a joy for any modern listener eager to be transported back to one of the most exciting periods of English history. This volume is particularly interesting for being the only one to include a non-English composer: Jan Pieterszoon Sweelinck, a Dutch organist, who was well known across Europe. Sweelinck met the other composer featured in this volume, Peter Philips, in 1593 in Amsterdam, when Philips made a special trip to see the renowned organist perform. The two composers are remarkable for their superb mastery of the variation form, expertly building and releasing tension in the melodic lines and using the uncertain tonality of the time to play around with the harmonic structures. They also both made use of intabulations of vocal music, taking popular madrigals and vocal motets of the time and adding new embellishments, sometimes obscuring the original melody with the elaborate ornamentation. Listeners will appreciate the special care and attention that has gone into producing this release: harpsichordist Pieter-Jan Belder is currently in the process of recording all the pieces of this unique book, and this is the third volume to be released on the Brilliant Classics label. A renowned harpsichordist, clavichord player and fortepianist, Belder specialises in performance on historical instruments, and has carefully selected two period harpsichords for this recording to create the most authentic sound possible. The effect is certainly a special one: the recording dazzles with a well-chosen selection of these complex yet remarkably light pieces, a snapshot of the 16th century that represents the very best of English harpsichord music. The long awaited third volume of the complete recording of the Fitzwilliam Virginal Book, by Pieter-Jan Belder.The Fitzwilliam Virginal Book is the most famous, extensive and important collection of keyboard music from the English Elizabethan and Jacobean Era. Lodged in the Fitzwilliam Museum in Cambridge it contains more than 300 works for the virginal, by composers such as John, Bull, William Byrd, Thomas Tomkins and many others. This third volume features keyboard works by Peter Philips and JP Sweelinck, the only non-English composer in the collection. Philips and Sweelinck knew each other, and share their skills in the variation form, transforming a melody in ever increasing complexity of ornamentation and counterpoint. Pieter Jan Belder is one of the world?s foremost keyboard players, with an astonishing number of CD?s to his name: the complete Scarlatti Sonatas, Bach keyboard works, Rameau, Soler, Duphly, Marais, CPE Bach, Corelli, Purcell, Telemann?Other information:History of the Fitzwilliam Virginal Book and its originsDetailed notes on the selected piecesNotes on the artistDescriptions of the period harpsichords used Recorded in 2013 in the Chapel of the Capuchin Monastery, Velp, The Netherlands
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