On 1 Sep 2009 at 23:20, Ray Horton wrote:
> David W. Fenton wrote:
> > On 1 Sep 2009 at 21:22, Ray Horton wrote:
> >> "Pianoforte" and "Fortepiano" were both used as early names for the
> >> invention, soon shortened to "piano" for general use. "Fortepiano" has
> >> come into use in recent deca
David W. Fenton wrote:
On 1 Sep 2009 at 21:22, Ray Horton wrote:
"Pianoforte" and "Fortepiano" were both used as early names for the
invention, soon shortened to "piano" for general use. "Fortepiano" has
come into use in recent decades to distinguish an early instrument or
reproduction.
"Pianoforte" and "Fortepiano" were both used as early names for the
invention, soon shortened to "piano" for general use. "Fortepiano" has
come into use in recent decades to distinguish an early instrument or
reproduction. The name "piano" persisted from soon after invention to
present day, a
On 1 Sep 2009 at 21:22, Ray Horton wrote:
> "Pianoforte" and "Fortepiano" were both used as early names for the
> invention, soon shortened to "piano" for general use. "Fortepiano" has
> come into use in recent decades to distinguish an early instrument or
> reproduction. The name "piano" per
On 1 Sep 2009 at 20:05, Ray Horton wrote:
> arabu...@cowtown.net wrote:
> > ...
> >
> > ajr
> > who still thinks that Landowska's Bach is some of the best on record
>
> I suppose the point, about Landowska's metal harpsichord, is that it
> was at least heard before it is judged.
While I'm gla
Except in Poland, where they still use "fortepiano" to refer to any such
instrument. (and it wouldn't surprise me if they aren't the only ones who
do so)
ajr
> "Pianoforte" and, to a lesser extent "Fortepiano" were both used as
> early names for the invention, soon shortened to "piano" for genera
"Pianoforte" and, to a lesser extent "Fortepiano" were both used as
early names for the invention, soon shortened to "piano" for general
use. "Fortepiano" has come into use in recent decades to distinguish an
early instrument or reproduction. The name "piano" persisted from soon
after inventi
At 8:05 PM -0400 9/1/09, Ray Horton wrote:
I am sure there are some real differences in piano construction
between the late 1700s and now, yet even Mr. Fenton allows the name
to persist.
Actually, no. We differentiate carefully between fortepiano
(basically before the metal frame was intro
My one performance foul-up with a Graingerism involved reading an MS
transcription of some short, soft band piece for orchestra. I was
playing a euphonium solo, and at the end it had the indication "slow
off" but the last "ff" was a bit detached from the "slow o." I started
to read the "ff"
arabu...@cowtown.net wrote:
...
ajr
who still thinks that Landowska's Bach is some of the best on record
I suppose the point, about Landowska's metal harpsichord, is that it was at least heard before it is judged.
I am sure there are some real differences in piano construction between
At 5:06 PM -0400 9/1/09, Ray Horton wrote:
Your comparison is not entirely apt, since the valved ophecleide
came into use (but I don't know how much) within a couple of decades
after the keyed one, and new repertoire may have been written with
the second instrument in mind..These "harpsic
So what do you call the instrument that Landowska played? A Wandsichord,
perhaps?
And as far as Gould goes, it would be great to here a performance as
insightful as his program notes.
ajr
with no doubt as to where he stands on the Glenn Gould controversy
> On 1 Sep 2009 at 16:20, arabu...@cowtow
Thanks for doing that research, Ryan.
Chuck
On Sep 1, 2009, at 2:32 PM, Ryan Beard wrote:
FWIW, I spoke with Mac Support about Finale 2010 and Snow Leopard
today. The agent said it works well, but they have found some
problems with fonts not loading properly. They do have a work around
wh
At 2:54 PM -0400 9/1/09, Andrew Stiller wrote:
These are both absolutely standard terms in classical music, and any
professional string player in that repertoire should know them.
Certainly composers do!
All I can say to that is that our players are community musicians,
and that the books a
On 1 Sep 2009 at 16:20, arabu...@cowtown.net wrote:
> still thinks that Landowska's Bach is some of the best on record
For her style and musicality, yes, but so is Glenn Gould's.
Neither of them played the harpsichord.
--
David W. Fentonhttp://dfenton.com
David Fenton Assoc
FWIW, I spoke with Mac Support about Finale 2010 and Snow Leopard today. The
agent said it works well, but they have found some problems with fonts not
loading properly. They do have a work around which involves downloading a font
pack and also manually changing some things in the Font Book appl
Ray,
The Meucci article, which is the best available word on this subject in
regards to Italy (if Howard Weiner recommends something, it has to be
good)
I blush!
is on Jstor.If anyone else wants a copy I'll email it to you (unless
Howard would rather I didn't
Could easily be mistaken for "Loudun devils."
ajr
> On 1 Sep 2009 at 23:24, Frank Prain wrote:
>
>> Seriously though, what's wrong with "louden lots"?
>
> It's not just that it goes against standard conventions that every
> trained musician already knows (molto crescendo is something everyone
> u
Italian for flutter-tongued is "frullato," without any specific reference
to "lingua."
ajr
> Hmm .. the Italian for "Flutter tongue" must be something
> picturesque, like, "Lingua Fluterri." Sounds like something with
> which an Italian Grainger might have come up.
>
>
> On Sep 1, 2009, at 12:3
And how 'bout the French vs. the German bassons while we're at it?
ajr
who still thinks that Landowska's Bach is some of the best on record
> On 1 Sep 2009 at 16:10, Ray Horton wrote:
>
>> Oh, David, please read the thread before you keep at this! If you had
>> then you would know, by now, that
Hmm, that's a fair question - was the valved ophecleide really an
ophecleide, just because it took the name?
Your comparison is not entirely apt, since the valved ophecleide came
into use (but I don't know how much) within a couple of decades after
the keyed one, and new repertoire may have
He (Grainger) certainly did not eschew the music of the proletariat
in crafting some very engaging work (e.g., Lincolnshire Posy). Good
stuff.
Dean
On Sep 1, 2009, at 12:02 PM, Andrew Stiller wrote:
On Sep 1, 2009, at 10:30 AM, Christopher Smith wrote:
I suppose I take exception to Gr
Hmm .. the Italian for "Flutter tongue" must be something
picturesque, like, "Lingua Fluterri." Sounds like something with
which an Italian Grainger might have come up.
On Sep 1, 2009, at 12:35 PM, Andrew Stiller wrote:
On Sep 1, 2009, at 5:12 AM, dhbailey wrote:
Those who have written
I dunno ... if it weren't for neologism, we wouldn't have any logism
at all. Every phrase we utter had to have it's first audition. A bit
of poetry (which in Grainger's case, connotes the composer's desires
easily, I think), does no harm IMO. And, as I implied earlier, it
makes me smile.
On 1 Sep 2009 at 16:10, Ray Horton wrote:
> Oh, David, please read the thread before you keep at this! If you had
> then you would know, by now, that the term "ophecleide" came to be
> attached to a valved brass instrument by 1850, so this "Modern
> Ophecleide " is certainly in that tradition.
Hi John,
Without intending to be a jerk, I have to echo Andrew's comment. "Al
tallone" and "flautando" are bog-standard terms, and I can't imagine
any string player round here being fazed by either one.
Cheers,
- Darcy
-
djar...@earthlink.net
Brooklyn, NY
On 1 Sep 2009, at 2:54 PM, An
What about "corno" for horn (as in the "ocho cornos" noted in the
orchestration of Châvez's "Sinfonía de Antígona" in the notes that go
along with the recording he conducted)? I know that "trompa" meant "horn"
in Portuguese--have never heard it used as such in Spanish.
ajr
>
> On Sep 1, 2009, at
Oh, David, please read the thread before you keep at this! If you had
then you would know, by now, that the term "ophecleide" came to be
attached to a valved brass instrument by 1850, so this "Modern
Ophecleide " is certainly in that tradition. My informed guess is that
the 1850 creature had
I have the same question, though I cannot upgrade my OS until I also
upgrade to an Intel Mac. Nevertheless, it is a question all Mac users
will need answered. MM should know this, and I think they have
researched the issue. Perhaps it's worth asking Mac support at MM.
Chuck
On Sep 1, 2
On 1 Sep 2009 at 23:24, Frank Prain wrote:
> Seriously though, what's wrong with "louden lots"?
It's not just that it goes against standard conventions that every
trained musician already knows (molto crescendo is something everyone
understands, no?), but it's not even standard usage in its nat
Andrew Stiller wrote:
Just a reminder to all: In Spanish ... "clavicordio" means square piano.
Man! Knowing that could have saved me thousands in medical bills the
last tine I was in Mexico.
My humblest of apologies,
Raymond Horton
___
Fin
Has anyone installed the new Mac OS, Snow Leopard? I'm running an iMac
and an HP Laserjet 2300 with Finale 2008. I would like to know if
anyone is running a similar setup to mine but with the new OS
installed, and if so, how everything is running.
Martin
Martin Banner
mban...@hvc.rr
On Sep 1, 2009, at 5:12 AM, dhbailey wrote:
Those who have written in French and German terms were composers of
international standing and the music was compelling enough that people
figured out what the non-Italian terms meant and bought the music
despite their nationalistic use of terms.
On Sep 1, 2009, at 11:58 AM, John Howell wrote:
As to internal instructions, we ran into a couple of doozies this
summer in the score to "Joseph & the Amazing Technicolor Dreamcoat."
One was the instruction "al tallone," which is perfectly good Italian
for "at the frog," but which none of us
On Sep 1, 2009, at 12:47 PM, Ray Horton wrote:
Years ago, the Louisville Orchestra hosted a contemporary music
festival that included bringing in a number of talented players from
many countries all over, although an inordinate number were from
Spanish speaking countries. We did two conce
On Sep 1, 2009, at 10:30 AM, Christopher Smith wrote:
I suppose I take exception to Grainger's "cheerful xenophobia", as one
writer put it, that is the motivator behind these unusual markings.
Not so much xenophobia as racism. He believed, as did many in his day,
that the cultural character
More than fair enough
Cheers,
Dean
On Sep 1, 2009, at 9:39 AM, wrote:
If you ever hire me to compose for you I will use whichever language
(s) in
the score we agree on. In my own projects I will unapologetically
follow
my own procedures.
ajr
FWIW, I've long been a proponent of (a
The D trumpet would give a smaller sound (contrasting to the C or Bb
trumpets), would make the high notes more secure, but would not give the
characteristic cornet timbre.
One popular instrument for the more exposed and difficult cornet parts
is a Cornet in C. It's often used on Prokofiev co
We really ought to get into the habit of changing the subject line. I
imagine that more than a couple of Finale users here have been deleting
the "Ophecleide" messages but might wish to participate in this thread.
I would have thought that Italian terms would communicate the most, esp.
in Eu
Thanks, Howard! I do recall now that in the score that I have for
Prokofiev's "Lt. Kijè" music that the cornet is labeled "pistone." And, as
it turned out, the guy who played it when we did it in our community
orchestra used a D-trumpet, giving me my first exposure to the instrument.
ajr
> At 21:
If you ever hire me to compose for you I will use whichever language(s) in
the score we agree on. In my own projects I will unapologetically follow
my own procedures.
ajr
> FWIW, I've long been a proponent of (as an American composer) using
> directions in English as much as possible. If it's be
At 5:12 AM -0400 9/1/09, dhbailey wrote:
Those who have written in French and German
terms were composers of international standing
and the music was compelling enough that people
figured out what the non-Italian terms meant and
bought the music despite their nationalistic use
of terms. Th
Christopher ... no, I certainly took no umbrage at your garbage
remark. I had never heard that story before and find it intriguing.
I love little Bio-snips about folks ... so thank you. What you had
to say in general, also makes sense. I certainly used all the typical
dynamic markings fo
David .. your points are well taken, indeed. Yeah, virtually all my
music is either educational in nature or sacred, meant for American
consumption. To be honest, though, if, say, a German publishing house
contacted me and wanted to pay me big bucks to produce a score of
mine, as long as I
Yeah ... I've always found Grainger's directions a breath of fresh
air ... as innovative as his music ...
Dean
On Sep 1, 2009, at 6:24 AM, Frank Prain wrote:
Not so much scrounging garbage, rather recycling your bath-towels.
Seriously though, what's wrong with "louden lots"? I've always foun
Well, we've had this discussion before, and I generally come down
more strongly on the side of convention, for the very good reason
that it is convention, so everyone understands it immediately. If I
see "louden lots" it will take me a minute (or even a trip to the
computer to Google it) wh
Please, Johnannes, see my message off-list about this problem.
Javier Ruiz
The 25/08/09 13:59, Rich Caldwell escribió/wrote:
> I know in the full version of Photoshop you can go to Select>Color
> Range, eyedrop colors directly in the image you want to add to the
> selection, close the tool, and t
Not so much scrounging garbage, rather recycling your bath-towels.
Seriously though, what's wrong with "louden lots"? I've always found
Grainger's directions quite clear, if unconventional.
2009/9/1 Christopher Smith
>
> On Sep 1, 2009, at 12:19 AM, Dean M. Estabrook wrote:
>
> FWIW, I've long
On Sep 1, 2009, at 12:19 AM, Dean M. Estabrook wrote:
FWIW, I've long been a proponent of (as an American composer)
using directions in English as much as possible. If it's been good
enough for the Italians, French, and Germans ... why not us? Let
them come to us for a change ... eh, it
Dean M. Estabrook wrote:
FWIW, I've long been a proponent of (as an American composer) using
directions in English as much as possible. If it's been good enough for
the Italians, French, and Germans ... why not us? Let them come to us
for a change ... eh, it's just the curmudgeon bubbling to
At 20:05 31.08.2009 -0700, Dean M. Estabrook wrote:
Didn't Bobo play for either Chicago and or Philly at one time?
That's going back a bit ..
No, but if I remember correctly he did play in the Concertgebouw for
several years before he went to Los Angeles.
Howard
--
Howard Weiner
h.wei...@
At 21:21 31.08.2009 -0500, arabu...@cowtown.net wrote:
Has anyone here run across the feminized "Cornetta" to refer to the
3-valve cornet? I'm about to finalize a score that includes this
instrument, and I don't want it mistake for the cornetto of Moneteverdi's
time.
"Cornetta" is indeed the It
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