I can well understand his attitude.
He'd been playing for many years and was a great supporter of the local
"tradition".
Many collectors have tried to get people to play or sing in an accepted
manner and been told "that's not what it sounds like".
Fortunately the great collectors like Lomax and Kennedy realised that an
"unusual" way of performing was more important than musical correctness
rather than try and "correct" their notes!
It is, after all, the "real" thing.
Colin Hill
On 05/01/2012 01:35, Arle Lommel wrote:
Hi Kevin,
Thanks for all this information. I didn't note your mails until today as
my mail program didn't alert me when they came in, so apologies for my
tardy response. Interesting that the person who made the notes (I don't
find the name right off) was aware of the deficiencies. He also notes
the following at the end:
The hurdy-gurdy used for this recording has a very good rhythmic
effect, clear and strong, but the melody has no volume. The reason
is that it was designed for a D tuning, id set, with two
“chanterelles” supporting a high tension. The G tuning, used by Mr.
Vasson on the record, is lower, and the string vibrations may be
improper in comparison of the [sic] body. You may have noticed it
when you first listened to that record. As it was impossible to make
to make Mr. Vasson play on another hurdy-gurdy, we tried our best
with what we had, without using electronic system [sic] to modify
the natural sound.
I was talking to Bob Green once and he said that one of his biggest
frustrations in teaching people was that he'd spend a few hours getting
their instruments into what he considered playable shape and by the next
day they’d have them back to the way they were, completely undoing
everything they did. He said the problem was that people knew what they
wanted and would go back to it, even if it wasn't right for the music he
was teaching them. Seems like Vasson knew what his instrument should
sound like and stuck to it, even if others disagreed.
Best,
Arle
On Dec 27, 2011, at 20:50 , Kevin Hughes wrote:
Arle Lommel wrote:
This one is performed a violone, so you can hear that the wheel is
out and the rosin is less than ideal.
This is mentioned in the notes (
http://lfs.alexanderstreet.com/liner/2dc384e01e7f768afacc547b9b5e8d1c/FW08747.pdf
) :
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