I'm just finishing the book by N. Harnoncourt Musik als Klangrede
(Music as speech in english, or something like that). I find it very
interesting, and worth reading it.
Yes, great book. Also try 'Der musikalische Dialog, Gedanken zu Monteverdi,
Bach und Mozart'. DTV/Baerenreiter 10781.
David
Hola Manolo
Hay un luthier en Romania que se llama György Lörinczi, pero su pagina que
antes era http://home.swipnet.se/lute/lorinczi/ ya no parece existir y
tampoco le encontré en Google
Saludos
G.
(There's supposed to be a luthier called György Lörinczi in Rumania, but his
old homepage is
On Martedì, apr 6, 2004, at 01:56 Europe/Rome, Howard Posner wrote:
??
! !
Indeed. I always enjoyed his CD-booklets, which give a
lot of interesting thoughts, too!
Stephan
Am 5 Apr 2004 um 15:10 hat LGS-Europe geschrieben:
I'm just finishing the book by N. Harnoncourt Musik als Klangrede
(Music as speech in english, or something like that). I find it
very
Roman Turovsky [EMAIL PROTECTED] schrieb:
David, you haven't given is sufficient thought, we are talking different
things. Relationships between composers and hired musicians are not the same
thing as a relationship within a cooperative, such as RR band.
apparently, what it's all about is the
Paolo Declich [EMAIL PROTECTED] schrieb:
I got a copy of his Musik als Klangrede only some three years
ago. Boy, what an exciting book.
Ever translated in English?
see
http://perso.wanadoo.fr/mandarine/bibliographie.htm
--
Best wishes,
Mathias
Mathias Roesel, Grosze Annenstrasze 5,
Roman wrote:
Still, what I'm talking about is not the economics of music, but a simple
idea that a piece of good music is invariably a ONE MAN endeavor, with or
without a librettist, and this extends to non-classical world too. However
this Singularity is extremely rare. Too many cooks
Still, what I'm talking about is not the economics of music, but a simple
idea that a piece of good music is invariably a ONE MAN endeavor, with or
without a librettist, and this extends to non-classical world too. However
this Singularity is extremely rare. Too many cooks result in flimsy
Handel could send his librettist packin', and write for oboe instead. I
don't think Elton could ever write for oboe.
It's not so hard to write for oboe.
Really? Have you tried?
But all this is beside the point. Roman made a blanket assertion--about
acrimonious breakups being impossible in
Forgetting completely such teams as Gilbert Sullivan, Rodgers
Hammerstein and Rodgers Hart?
Not to mention the earlier mentioned Ellington/Strayhorn...a
collaboration free of acrimony and immeasurably blessed.
Stephen W. Gibson
-Original Message-
From: [EMAIL PROTECTED]
Did anyone read Alex Ross's piece in the New Yorker a few weeks back
about the classical/non-classical, serious/nonserious distinctions that
tend to govern our responses to music?
As to the difficulty someone mentioned of setting good poetry to music,
what of Ned Rorem's efforts with, e.g.,
dear ed -
how wonderful!
my german is non existent and i can't seem to copy the main part of the
text in order to put it in the altavista babelfish translation service.
the article mentions a scooped out korpus similiar to those instruments
found in s.america. i assume they're talking about
Nothing whatever to do with the lute, but interesting nontheless:
I was in Tower Records a couple of days ago, and I just happened to
notice a recording of Peter and the Wolf narrated by, are you ready?,
Mihail Gorbachov and Bill Clinton. Also Sophia Loren. There were
photos of them on the
i thought the wolf was written for french horn, not sax.
what did mihail blow?
On Martedì, apr 6, 2004, at 18:31 Europe/Rome, David Rastall wrote:
Nothing whatever to do with the lute, but interesting nontheless:
I was in Tower Records a couple of days ago, and I just happened to
notice a
Bill wrote:
i thought the wolf was written for french horn, not sax.
what did mihail blow?
Ow! Thank you for that disturbing image. ;)
Craig
Dear Bill, Ed and All:
The quintern or gittern is a type of four- or five-course treble lute.
There's a surviving instrument in Eisenach, and it's mentioned in detail in
Keith Polk's German Instrumental Music of the Late Middle Ages and by
Crawford Young in the recent handbook on medieval
At 08:09 06-04-2004 -0400, Ed Margerum wrote:
For those interested in medieval non-lute instruments there is a
brief article (in German) with photo of an intact quinterne found in
Danzig at http://www.theiss.de/AiD/2002/6/europa1.php The
quinterne/guiterne was found a few years ago in a
Dear All:
I looked at the photo and it is definitely a gittern/quinterne. Note the
separate fingerboard, probably a harder material than the top. But the
bridge looks far too wide for a four-course instrument? Any ideas?
Yours,
Jim
But all this is beside the point. Roman made a blanket assertion--about
acrimonious breakups being impossible in classical music because the
composition of classical music is a one-person endeavor. The statement
ignores all the history of collaborative endeavors, and if, as about 35
posts
It's not so hard to write for oboe.
Really? Have you tried?
Hasn't everyone?
Have YOU?
There is no music set to a poem.
That's why real poetry is best not set to music, it has its own. Poetry set
to music is almost invariably mediocre, more so when the music is greater.
If only they
to me, the grain on the piece of wood covering the fingerboard is the
same as that of the soundboard. difficult to explain that seam though.
in relation to my charango, the sound hole seems way too large for the
body. maybe this and the exaggerated size of the bridge indicates a
lack of
Good Lord,
I've been accused of uninformed comments, but this thread takes the cake.
I'll not pick on the sources, too many messages involved. Homer wrote (and
let's not pick on the fact that his poems were written down centuries later,
and were probably an evolution) before there was polyphonic
Dear all
If music and sweet poetry agree,
As they must needs, the sister and the brother,
Then must love be great 'twixt thee and me,
Because thou lov'st the one, and I the other.
Dowland to thee is dear, whose heanvenly touch
Upon the lute doth ravish human sense;
Spencer to me, whose
RT,
I'll rise above the temptation to discuss the poetry of the early English.
And will only mention in passing the fact that the literature of greater
Russia goes back only a few hundred years. And I'll not pick on the loss of
the Picts (probably Brythanic) to the Goidalic Celtic languages
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