On Fri, 30 Jan 2009, David van Ooijen wrote:
>> It is very zen,
You can say that azen! I have been doing zen breaths ever since David
posted this, but viewing his firt video is still a distant dream. Clicking
on http://wm1.avro.jet-stream.nl/avro/web/klassiek/090125_spiegelzaal.wmv
renders Sa
Perhaps it was overlooked in the surge of new threads, or maybe my question
was just an uninteresting one with an obvious solution, but any response to
the example I found below about the mysterious Melchior eleventh fret would
be much appreciated. RY
>I ran across another spot that confounds the
I had a similar shock the first time I played Les Indes of Rameau
with Jordi, it was the original, and the bass line was BARITONE clef,
and there were figures above the line AND below the line.
Yikes! And the Rondeax, yes, it is a frog in a blender.
dt
At 03:04 PM 1/30/2009, you wrote:
>On Fri,
On Fri, Jan 30, 2009 at 10:30 PM, howard posner wrote:
>
> On Jan 30, 2009, at 5:03 AM, mathias.roe...@t-online.de wrote:
>
>> it's amazing to me, indeed, how a baroque piece that starts with a 7th
>>in the opening chord, comes to your mind just like that.
>
> It starts with a tone cluster, an
On Fri, Jan 30, 2009 at 10:41 PM, David Tayler wrote:
> I mean the audience sees a sign at the entrance: that says it is
> being recorded.
..
> It is very zen, the whole sign thing.
Not much Zen in this case, all very down to earth. Everyone knew it
was being recorded, as it was live on TV. The t
Dear Mathias,
So lets to the point and your Allemande.
I don't pretend my method is right but if I'd have such a problem for
the first time I'd first chack the source as I do not always trust
the CNRS editions wich I just catched.The volume was published in
1972, the 'Tableau des signes de
>Absolutely--I'm not claiming to be an expert, I have just read all
>the literature and all the sources.
Open dialogue is the way to go!
dt
>I didn't mean to ask David Tayler exclusively because I prefer open
>discussions rather than dialogues, and, second, David is not the only
>
The server didn't like my dash.
This should read:
> It starts with a tone cluster, and it comes to mind because it's
> famous. It's famous precisely because it's unique— -- a composer
> trying
> to make the most atypical, anarchic sound he can make -- and thus
> useless as a model of normal pr
I mean the audience sees a sign at the entrance: that says it is
being recorded.
Of course, if you say the sign was there, it would be difficult to
say otherwise.
Maybe the sign was there, and no one saw it.
It is very zen, the whole sign thing.
dt
At 06:06 AM 1/29/2009, you wrote:
>On Thu, Ja
On Jan 30, 2009, at 5:03 AM, mathias.roe...@t-online.de wrote:
> it's amazing to me, indeed, how a baroque piece that starts with a 7th
>in the opening chord, comes to your mind just like that.
It starts with a tone cluster, and it comes to mind because it's
famous. It's famous precisely
> Eh! =A0 Didn't the appogiatura change (short to long) from the early
> 17th through to the late 18thC (see, for example, Donnington pp 197
> -228)
Does that mean that any appogiatura occuring during the, say, 1st half
of the 17th century is short, or would that be somewhat simplis
> it's amazing to me, indeed, how a baroque piece that starts with a
7th
9th, that is. Sorry!
M.
> in the opening chord, comes to your mind just like that.
>
>
> > As you asked David, I'll refrain from answering that particular
> questio.
>
> I didn't mean to ask
> Rebe= l's Cahos is not really to the point, since it is a depiction
of primordial Chaos. Mathias was questioning a dissonance that was
presumably intended for the composer's well-ordered French universe.
There isn't much of a difference between an intended depiction and a
well-ord
Dear Jerzy,
it's amazing to me, indeed, how a baroque piece that starts with a 7th
in the opening chord, comes to your mind just like that.
> As you asked David, I'll refrain from answering that particular
questio.
I didn't mean to ask David Tayler exclusively because I prefer
Eh! Didn't the appogiatura change (short to long) from the early 17th
through to the late 18thC (see, for example, Donnington pp 197 -228) as
did the trill (from a lower note start to upper) during much the same
period (Donnington pp 236-259). The simplistic assumption that there
15 matches
Mail list logo
