I remember Thurston Dart talking about attending a clavichord recital (can't
remember the source). He said that when the clavichord began to sound he
could not hear it at all, but after a short while it was like surf crashing
on the rocks.
Gary
- Original Message -
From: Ron Andrico
As a jazz musician, I play a lot of corporate events and parties. For years
I thought the crowd would get louder every time we began to play, but now I
think the perception that the crowd is getting louder is a result of focus,
i.e. when we begin to play we focus on sound, giving the impression
Actually for most people any music is a signal to _not_ listen and start
talking. :-)
That's what they are used to with pop music.
When I played gigs with guitar and flute, we tried to play when they were
eating, that was a lot more quiet. :-)
Stephan
Am 17.10.2010, 08:29 Uhr, schrieb Gary
Dear Stuart and all
But I think serial music could work on a lute or lutes. Stuart
I was thinking eactly the same thing Stuart (nice playing and
piece), while I was mulling over the previous Baroque lute thread New
music to d-minor tuning?, and trying to clarify my thoughts.
Dear Luteplayers!
Are You looking for something special? For some years I've played a
14-course Theorbo.
Several photos here: http://www.luteonline.se/theorbo_for_sale_2010.htm
It has the body of the instrument in the Germanisches Museum in Nürnberg
(MIR 903) by Lepold Widhalm in 1755 and the
Judge for yourself:
http://service.gmx.net/de/cgi/derefer?TYPE=2DEST=http%3A%2F%2Fservice%2Egmx%2Enet%2Fde%2Fcgi%2Fdfstools%3Fopenid%3D30949%2E1287316081%26o%3D959384029%2E1287316082%26cmd%3Dopen%26file%3D04%2BGigue%2BWach%2Bauf%2BMs1645%255FMatthias%2BRebecca%2B%2B%252Emp3%26folder%3D%252F
(last
Gary,
--- On Sun, 10/17/10, Gary Digman magg...@sonic.net wrote:
That being said, I have to admit that I have attended lute
concerts given by some of the leading lights of the lute
world for audiences numbering in the hundreds where the lute
literally could not be heard at all past the
Dear All and David van Ooijen, specifically,
I was listening to 42. Hennen Dantz
(http://www.youtube.com/watch?v=wRW2GvbQhhg)
http://www.youtube.com/watch?v=wRW2GvbQhhg and was wondering how you
decided to deal with the 3 in measure 17 as you do, i.e., if you count
the first 16 bars in four
From: Anthony Hind agno3ph...@yahoo.com
Perhaps, T. Satoh's works could be classified as Neo-Renaissance or
Baroque; but there seems to have been an unbroken Japanese ancient
music tradition up to the present, from which contemporary Japanese
composers can almost directly borrow, and TS
Here another example from cottbus to judge.
Well balanced - i think - between singer and lute. The mic zoom h2 was
about 5 meters away, this was the first row of our auditorium:
http://www.esnips.com/doc/3c871420-c2d5-4c38-a416-00784a90ba5d/Frottola-
-su-su-leva
And here the same frottola with
Quite so Roman, my struggling to define musical niceties, made my
geographical classification become somewhat hazy; but I dare say there
might be other such traditions that I should have mentionned, if I was
to be exhaustive. So appologies to any one I left out.
Regards
AH
Chris,
As far as you've gone, I agree completely. But going further, expecting a solo
lute - or guitar - to keep an audience's attention for a full program is
optimistic. It doesn't for me, and I love the lute and its literature. More
variety is needed. Lute with singer, or lute with gamba,
On 17 October 2010 17:31, Peter Nightingale n...@pobox.com wrote:
I was listening to 42. Hennen Dantz
(http://www.youtube.com/watch?v=wRW2GvbQhhg)
http://www.youtube.com/watch?v=wRW2GvbQhhg and was wondering how you
decided to deal with the 3 in measure 17 as you do, i.e., if you count
the
Yes, I'm sorry. Here's another link that will hopefully work better:
http://www.esnips.com/doc/2e16bada-e956-4cc0-9f12-f891df8545bc/Bouvier_Reichard_Gehema
Mathias
Ed Durbrow edurb...@sea.plala.or.jp schrieb:
I get:
Diese Session ist nicht mehr gültig (Timeout). Bitte schließen Sie
dieses
On Sun, 17 Oct 2010, David van Ooijen wrote:
On 17 October 2010 17:31, Peter Nightingale n...@pobox.com wrote:
I was listening to 42. Hennen Dantz
(http://www.youtube.com/watch?v=wRW2GvbQhhg)
http://www.youtube.com/watch?v=wRW2GvbQhhg and was wondering how you
decided to deal with the 3 in
On 17 October 2010 21:04, Peter Nightingale n...@pobox.com wrote:
I liked it that way too, but there is always the tension between HIP and
the taste of some HUP (hysterically uniformed physicist).
In The Hague Royal Conservatory Early Music department we had a class
called hysterical
I liked your description of Matthew Holmes' use of the sharp sign.
I have spent some time lately with Dd.9.33 and Holmes has written a lot
of notes on lines instead of between the lines. In almost all of the
places the note is on the line below the space it belongs in, so
perhaps
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