imagine what felicitation and bonhomie there will be
in the practice halls of carnegie mellon when he
cranks that mother up.
--- Arthur Ness <[EMAIL PROTECTED]> wrote:
> This is probably too late for many of you. But
> Carnegie
> Mellon University has a major in bagpipes. The sole
>
> student
Yes there is a menuet by Weiss in the London book that
is in B minor. It is the only Weiss I have seen in
this key. Its on page 155 in the Peters edition. There
is also a sarabande in E minor by Weiss from a G major
suite, and that is the only E minor Weiss. This is
strange because these 2 keys are
I would recommend staying away from a descant lute as a first instrument.
This lute is best when played in an ensemble with other lutes of varying sizes
and pitches. My opinion: go for the 6 course "Duiffopruchar" model! You
will be able to play most of the renaissance lute repertoire on
Precisely, David.
ed
At 10:48 PM 9/22/2006 +0200, LGS-Europe wrote:
>>playing, but I would get an all-around better instrument that would serve
>>all purposes, so something in "g" would work best.
>
>Absolutely. And if _small_ size matters for you, try and find a lute of 58
>to 60cm tuned in g'.
On Friday, Sep 22, 2006, at 10:52 America/Los_Angeles, LGS-Europe wrote:
> Taruskin's point was that 20st century performance practice, early
> music performance practice
> included, was heavily influenced by Strawinsky's view on things.
Given how controversial Stravinsky was until his later ye
> playing, but I would get an all-around better instrument that would serve
> all purposes, so something in "g" would work best.
Absolutely. And if _small_ size matters for you, try and find a lute of 58
to 60cm tuned in g'. That is smallest for g' in 440, still practical. 64cm
will get you into
There is a great difference The diuffonbruchar is 64 cm, tuned in
"f". The other 2 are soprano lutes, at 44 cm, tuned in high "c" or
"d". The higher pitched instruments are very nice for some ensemble
playing, but I would get an all-around better instrument that would serve
all purpo
Thanks, everyone, for your advice! I got two recommendations for
Marcello and an e-mail from him, so I am strongly considering his
6-course Duiffopruchar:
http://www.armandpilon.com/galleries/duiffo6.html
Another lute I really liked was the Descant by Larry Brown:
http://lkbrownviolins.com/descant
> "stravinsky literally writes: "What is important for the lucid ordering of
> the
> work - for its crystallization - is that all Dionysian elements which set
> the
> imagination of the artist in motion and make the lifespan ripe must be
> properly subjugated before they intoxicate us, and must fin
All the attachments mentioned in the mail are available for those who need
them. Just send me an email. Better still, contact the address below.
Subject: Kaminkonzert in Walstedde am 30.09.2006
Sehr geehrte Damen und Herren,
liebe Freunde des Haus Walstedde,
Haus Walstedde kann auch ganz anders
Yikes! I have been looking forward to this disc with an open mind and
very anxious to enjoy it on its own merit, realizing that it would be
very different from what we usually associate with HIP. But wow, this
is very tough to listen to. Also, just based on the internet
streaming quality, t
Here's a link to samples of the Sting Dowland CD:
http://www.wom.de/classic/detail/-/hnum/4504071/rk/classic/rsk/charts
Fascinating stuff. There are spots where I have no idea what language
he's singing in. It kind of gives the impression that every syllable
is a new challenge, encountered fo
I should have said that is what Apollo needs.
I think that intoxication is an important part of the musical and performance
experience and not something to be subjugated!
best wishes
Mark
-Urspr=C3=BCngliche Mitteilung-
Von: [EMAIL PROTECTED]
An: [EMAIL PROTECTED]
Cc: lute@cs.dartmou
Your point about performance is well taken. A de-humanized, dry performance
is valuable only to an academic study of the underlying piece of music.
However, I think we have to take Stravinsky's words in the context of his
Neo-Classic period of music. Coming, as it did, at the close of WW I, this
p
Well Dionysus=intoxication vs Apollo=control certainly fits with the
respective myths. Apollo comes first when we practice to perfect our
technique, but it's not music until Dionysus pushes us to the intoxicated
limit of our practiced control.
>
> "stravinsky literally writes: "What is important
On Friday 22 September 2006 14:32, you wrote:
> "stravinsky literally writes: "What is important for the lucid ordering of
> the work - for its crystallization - is that all Dionysian elements which
> set the imagination of the artist in motion and make the lifespan ripe must
> be properly subjuga
"stravinsky literally writes: "What is important for the lucid ordering of the
work - for its crystallization - is that all Dionysian elements which set the
imagination of the artist in motion and make the lifespan ripe must be
properly subjugated before they intoxicate us, and must finally b
> On Friday 22 September 2006 11:00, you wrote:
>> I still find non-emotional sounds quite frightening.
>> Maybe you have hit on what iritates me by some early music performaces
>> non-emotional romanticism. I am not sure what if any relevance the
>> philosophy of stravinsky has to early music
Yes of course,
if one listen to the CD "Tarantula, the Bearlsey voice, inflection,
pronunciation is absolutely perfect for traditional music along with the voice
of Alfio Antico.
PD
-- Initial Header ---
>From : "Roman Turovsky" [EMAIL PROTECTED]
To : [EMAIL PROTE
Yes for De Vittorio, yes for Sting, but Beasley has a classic definitely a
training
PD
-- Initial Header ---
>From : "Roman Turovsky" [EMAIL PROTECTED]
To : [EMAIL PROTECTED], lute@cs.dartmouth.edu
Cc :
Date : Fri, 22 Sep 2006 06:23:06 -0400
Subject
> not sure if there has been a posting saying that you can now hear the new
> sting Dowland CD at Amazon.
>
> It certainly is interesting to listen to how he aproaches the songs.
> Of course it is very easy to find many faults, why archlutes.
Why not? Stubbs, Rubin and MANY others use them for JD.
On Friday 22 September 2006 11:00, you wrote:
> I still find non-emotional sounds quite frightening.
> Maybe you have hit on what iritates me by some early music performaces
> non-emotional romanticism. I am not sure what if any relevance the
> philosophy of stravinsky has to early music . Mark
I still find non-emotional sounds quite frightening.
Maybe you have hit on what iritates me by some early music performaces
non-emotional romanticism.
I am not sure what if any relevance the philosophy of stravinsky has to early
music .
Mark
-Urspr=C3=BCngliche Mitteilung-
Von: [EMA
Richard Taruskin makes a strong case for this in his article 'The Pastness
of the Present'. Early music players play like non-motionaly involved
Stawinsky, not like romantically inclined Landowska.
>
> non-motional sounds like an illness and even worse than the romantic
> malady!
;-) Nice typo
> I think there is still a huge amount of the 19th century in early music
> performance today both in playing style, but even more in presentation.
> Maybe one of the reasons that a lot of early musicians seem to eager to
> perform romantic music is they feel more at home with the ethos of that
> I think there is still a huge amount of the 19th century in early music
> performance today both in playing style, but even more in presentation.
> Maybe one of the reasons that a lot of early musicians seem to eager to
> perform romantic music is they feel more at home with the ethos of that
>
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