On Aug 12, 2013, at 11:49 AM, Nancy Carlin wrote: What we don't have
now is the record companies being the gate keepers for publicity.
The flipside of this was that "x is a name on a major label or any
label one may have heard of --or even recorded" could be the selling
point for an obscure instrument with managers assuming that if x is
good enough for them it could be good enough for their venue or series
or one-off. That selling point has been eliminated without a
replacement created for it. It is good that home recording has come
within reach of so many of us but the cachet is different.
In other words it's hard to build up trust and the label created an
easy proxy for it.
Sean
:
Is it just me, or do there seem to be fewer small broken consorts
around these days. Back in the 60s and 70s we had the Julian Bream
Consort, The Early Music Consort of London, the Consort of Musicke,
London Pro Musica, The Ely Consort, the Broadside Band, the City
Waites, the Extempore String Ensemble. I am finding it hard to
think
of anything equivalent around today, certainly in the UK. I used
to
travel a long way to attend their gigs and was never disappointed -
Lots of fresh music performed in ways I hadn't heard before.
Always
very entertaining and full of variety and played to packed houses.
Have they had their day?
Gigs today always seem to be so serious and earnest and with much
less
variety to hold the attention of the Great Unwashed (ie non-
lutenists).
Bill
From: Miles Dempster <miles.demps...@gmail.com>
To: Lutelist List <lute@cs.dartmouth.edu>
Sent: Monday, 12 August 2013, 17:00
Subject: [LUTE] Re: general public Lute awareness
Forty years ago the continuo section of an early music performance
hardly ever featured a finger-plucked instrument.
The theorbo and archlute have since then become 'standard',
providing
bread and butter work for competent continuo players.
Miles
On 2013-08-12, at 10:45 AM, William Samson wrote:
> Nowadays, of course, there are very many more great quality
lutenists
> than there were forty years ago, but there's not nearly enough
work
to
> go round to keep them all busy as concert performers. Probably
their
> best hope of earning a crust is through teaching - either in
academia
> or with private students - and grabbing a performing opportunity
when
> it presents itself.
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Nancy Carlin
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