[NSP] Re: Kathryn Tickell on Radio 3
I had some of the same feelings myself. It definitely wasn't in the mould of the traditional music for the pipes, and while I do like to see composers and players branching out into other types of music for instruments from time to time, in a lot of cases unless one does stick close to the traditional style, one doesn't get the most out of the instrument (this is something I've also observed on the recorder, although modern recorder music is something quite evil which relies on techniques fit to drive you mad). But as you say, Kathryn played it well. There were some bits in there which I definitely wouldn't have wanted to attempt on any instrument! On Fri, 2006-10-27 at 18:24 -0400, Richard Shuttleworth wrote: > Thanks for the heads-up. I managed to catch it but was quite disappointed. > The pipes were under-recorded most of the time and were often drowned out by > the orchestra. The second (slow) movement raised my hopes for a while but > sadly missed a golden opportunity to showcase the pipes, almost as though to > composer didn't really know how to treat the instrument and tried to bend it > into a classical mold instead of taking advantage of the traditional gendre > that the pipes could have made available to him. > > None of the above detracts from Kathryn's playing, she was superb! > > Just my 2 pence work, > > Richard > > Matthew wrote: > > > It's working right now as I'm in the middle of the relevant piece. > > Probably won't be available after today though, as they take them down > > after seven days - may not even be available later this evening. > > > > I'm in no position to comment on Kathryn's playing style but it > > certainly doesn't sound like the sort of pipe music she usually plays on > > her albums. Of course, on her albums she's not got the Northern Sinfonia > > playing with her either. > > > > Tis good. > > > > On Sun, 2006-10-22 at 23:47 +0200, Bart Blanquart wrote: > >> WILLIAM REEDER wrote: > >> > Was this program ever archived? I seem to be completely unable to find > >> > it. > >> > >> The BBC seems to be having difficulty with the archiving feature; they > >> have 'Performance on 3' archived for all days this week but friday. > >> > >> At the top of their radio player > >> (http://www.bbc.co.uk/radio/aod/radio3.shtml) it currently says "We > >> regret that many programmes are unavailable. We are working to restore > >> normal service"... so hopefully it'll show up soon. > >> > >> Bart > >> > >> > >> > >> To get on or off this list see list information at > >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >> > > > > -- > > > --
[NSP] Re: Kathryn Tickell on Radio 3
Regular readers will know I'm not a fan of KT's usual playing style, but Max has got some good piping out of her. Some of the crispest rapid staccato I've ever heard her play. Some open fingered trills too, mind - are they Max's or hers, or did they agree on them? The piece is good to listen to - but Max didn't attempt to stick to a Northumbrian style - what traditional elements there are come from Orkney. At least with this he has accepted the necessity with NSP of working within the range of the pipes - the harmonics in his 'Cross Lane Fair' were very unhappy. Cor anglais playing with NSP gives a blend of sounds worth hearing again, and perhaps this is enough justify the piece. The mic placement was maybe a problem - but string quartet, cor anglais and double bass can make quite a loud noise together if the players have to - NSP is stuck with a steady mf. John -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Kathryn Tickell on Radio 3
I managed to listen for a few minutes, then had to switch off. The little that I heard clearly demonstrated the composer's lack of understanding of the instrument and its music. Bagpipe music is all about the relationship between melody and drones, yet we were subjected to strange intervals that neither sit comfortably on the chanter nor relate to the drone accompaniment. Previous works by this composer have included a piece for pipes which goes beyond the range of the chanter - enough said??? More high-brow, emperor's-new-clothes fodder using the pipes as a gimmick! Chris -Original Message- From: Matthew Walton [mailto:[EMAIL PROTECTED] Sent: 28 October 2006 08:47 To: Richard Shuttleworth Cc: nsp@cs.dartmouth.edu Subject: [NSP] Re: Kathryn Tickell on Radio 3 I had some of the same feelings myself. It definitely wasn't in the mould of the traditional music for the pipes, and while I do like to see composers and players branching out into other types of music for instruments from time to time, in a lot of cases unless one does stick close to the traditional style, one doesn't get the most out of the instrument (this is something I've also observed on the recorder, although modern recorder music is something quite evil which relies on techniques fit to drive you mad). But as you say, Kathryn played it well. There were some bits in there which I definitely wouldn't have wanted to attempt on any instrument! On Fri, 2006-10-27 at 18:24 -0400, Richard Shuttleworth wrote: > Thanks for the heads-up. I managed to catch it but was quite disappointed. > The pipes were under-recorded most of the time and were often drowned out by > the orchestra. The second (slow) movement raised my hopes for a while but > sadly missed a golden opportunity to showcase the pipes, almost as though to > composer didn't really know how to treat the instrument and tried to bend it > into a classical mold instead of taking advantage of the traditional gendre > that the pipes could have made available to him. > > None of the above detracts from Kathryn's playing, she was superb! > > Just my 2 pence work, > > Richard > > Matthew wrote: > > > It's working right now as I'm in the middle of the relevant piece. > > Probably won't be available after today though, as they take them down > > after seven days - may not even be available later this evening. > > > > I'm in no position to comment on Kathryn's playing style but it > > certainly doesn't sound like the sort of pipe music she usually plays on > > her albums. Of course, on her albums she's not got the Northern Sinfonia > > playing with her either. > > > > Tis good. > > > > On Sun, 2006-10-22 at 23:47 +0200, Bart Blanquart wrote: > >> WILLIAM REEDER wrote: > >> > Was this program ever archived? I seem to be completely unable to find > >> > it. > >> > >> The BBC seems to be having difficulty with the archiving feature; they > >> have 'Performance on 3' archived for all days this week but friday. > >> > >> At the top of their radio player > >> (http://www.bbc.co.uk/radio/aod/radio3.shtml) it currently says "We > >> regret that many programmes are unavailable. We are working to restore > >> normal service"... so hopefully it'll show up soon. > >> > >> Bart > >> > >> > >> > >> To get on or off this list see list information at > >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >> > > > > -- > > > --
[NSP] Piping Modernism
Maxwell Davies comes from the musical influences of modernism, and pieces like Schoenberg's Pierrot Lunaire.. (some might switch that piece off after 30 seconds) The piping in the composition was unlikely to be expected, resolving or traditionally presented. It still managed to make it to Radio 3 though (and the "play again" button) . no publicity is bad publicity...eh? Steve Douglass To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Piping Modernism
My reaction on first hearing was negative. After I recorded the stream, enhanced the sound and played it on a decent hi-fi the pipes were much more audible. They're quiet but well recorded and separated in the mix on the far right. If you listen on headphones or computer speakers they're lost. The same musical doubts remain though - there's little of the Northumbrian tradition and harmonically the piece is foreign to the sound of the pipes. I think Chris hit the right issue - there must be some tuning and harmonics challenges with a just G scale and the other instruments, especially with the 'modern' scales and harmonies. But there are some melodic sections I like and the blend with cor anglais works at times. Instruments out of their métier seldom seem to satisfy ( I play the bassoon and wonder why people try to play jazz on them), but after a few hearings the piece is beginning to grow on me. Simon -Original Message- From: Stephen Douglass [mailto:[EMAIL PROTECTED] Sent: Saturday, October 28, 2006 9:02 AM To: nsp@cs.dartmouth.edu Subject: [NSP] Piping Modernism Maxwell Davies comes from the musical influences of modernism, and pieces like Schoenberg's Pierrot Lunaire.. (some might switch that piece off after 30 seconds) The piping in the composition was unlikely to be expected, resolving or traditionally presented. It still managed to make it to Radio 3 though (and the "play again" button) . no publicity is bad publicity...eh? Steve Douglass To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Piping Modernism
Hi Simon, Your comments are very interesting. How did you record this piece? I only managed to listen to it the once, maybe it would grow in me if I heard it several times on a decent sound system (like you mentioned, my computer speakers were not up to the challenge). Richard Simon Knight wrote: > > My reaction on first hearing was negative. After I recorded the stream, > enhanced the sound and played it on a decent hi-fi the pipes were much > more > audible. They're quiet but well recorded and separated in the mix on the > far > right. If you listen on headphones or computer speakers they're lost. > > The same musical doubts remain though - there's little of the Northumbrian > tradition and harmonically the piece is foreign to the sound of the pipes. > I > think Chris hit the right issue - there must be some tuning and harmonics > challenges with a just G scale and the other instruments, especially with > the 'modern' scales and harmonies. But there are some melodic sections I > like and the blend with cor anglais works at times. > > Instruments out of their métier seldom seem to satisfy ( I play the > bassoon > and wonder why people try to play jazz on them), but after a few hearings > the piece is beginning to grow on me. > > Simon > > -Original Message- > From: Stephen Douglass [mailto:[EMAIL PROTECTED] > Sent: Saturday, October 28, 2006 9:02 AM > To: nsp@cs.dartmouth.edu > Subject: [NSP] Piping Modernism > > Maxwell Davies comes from the musical influences of modernism, and > pieces like Schoenberg's Pierrot Lunaire.. > > (some might switch that piece off after 30 seconds) > > The piping in the composition was unlikely to be expected, resolving > or traditionally presented. > > It still managed to make it to Radio 3 though (and the "play again" > button) . no publicity is bad publicity...eh? > > Steve Douglass > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
[NSP] Re: Piping Modernism
My sound card has a mixer program so I can route the output from Real Player into my recording software. Reading the terms of use of the BBC site, I can make a recording for my own personal use (as I could with the live FM radio broadcast) but I can't distribute it. -Original Message- From: Richard Shuttleworth [mailto:[EMAIL PROTECTED] Sent: Saturday, October 28, 2006 3:09 PM To: nsp@cs.dartmouth.edu; Simon Knight Subject: Re: [NSP] Re: Piping Modernism Hi Simon, Your comments are very interesting. How did you record this piece? I only managed to listen to it the once, maybe it would grow in me if I heard it several times on a decent sound system (like you mentioned, my computer speakers were not up to the challenge). Richard Simon Knight wrote: > > My reaction on first hearing was negative. After I recorded the stream, > enhanced the sound and played it on a decent hi-fi the pipes were much > more > audible. They're quiet but well recorded and separated in the mix on the > far > right. If you listen on headphones or computer speakers they're lost. > > The same musical doubts remain though - there's little of the Northumbrian > tradition and harmonically the piece is foreign to the sound of the pipes. > I > think Chris hit the right issue - there must be some tuning and harmonics > challenges with a just G scale and the other instruments, especially with > the 'modern' scales and harmonies. But there are some melodic sections I > like and the blend with cor anglais works at times. > > Instruments out of their métier seldom seem to satisfy ( I play the > bassoon > and wonder why people try to play jazz on them), but after a few hearings > the piece is beginning to grow on me. > > Simon > > -Original Message- > From: Stephen Douglass [mailto:[EMAIL PROTECTED] > Sent: Saturday, October 28, 2006 9:02 AM > To: nsp@cs.dartmouth.edu > Subject: [NSP] Piping Modernism > > Maxwell Davies comes from the musical influences of modernism, and > pieces like Schoenberg's Pierrot Lunaire.. > > (some might switch that piece off after 30 seconds) > > The piping in the composition was unlikely to be expected, resolving > or traditionally presented. > > It still managed to make it to Radio 3 though (and the "play again" > button) . no publicity is bad publicity...eh? > > Steve Douglass > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
