Matt said
>(sorry, I don't know him well enough to call him Max)
I don't know him either - but he's often called Max (publicly - e.g. on the
Radio) and it's easier than writing Maxwell-Davies!
Apologies (a) if it looks like name-dropping and (b) if it being
disrespectful to Sir Peter Maxwell-D
Matt wrote:
I didn't hear the Maxwell-Davies
> piece (sorry, I don't know him well enough to call him Max).
>
Well several of us are busy insulting him (with the exception of Ina) so why
the problem with familiarity?
:-))
Richard
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I think there is a problem with using the pipes in a classical setting -
they are so easily overpowered as demonstrated by Ketteltoft Inn. That
doesn't mean a composer can't work with them but it will take a great deal
of knowledge of the instrument and sensitivity. Modern orchestral wind
instrume
Philip Gruar said
"Bonny Pit Laddie" etc. Now THAT'S real NSP playing. Wonderful, Chris! but
please don't totally rubbish Max and the competence, knowledge or integrity
of other ways of using the instrument. Having sais that, of course, maybe it
is a necessary part of being a true tradition-bea
A few points in the ongoing debate-
1/ I don't think there's any inherent problem using the pipes in a classical
setting, it depends completely on how it's done. I didn't hear the
Maxwell-Davies
piece (sorry, I don't know him well enough to call him Max) so I cannot say
anything about it. I've he
(Getting a bit off-topic now I'm afraid)
Hilary's mention of Martyn Bennett (and Ina's reference to Dick Hensold's
compositions) seems to have brings us to favourite CD's of interesting
developments/departures from the strictly traditional, while still remaining
true to the characteristics of th
On 2 Nov 2006, Richard Shuttleworth wrote:
> Just received this automatic reply:
> Anne Moore is currently out of the office until further notice.
She is off work recuperating from an operation and is unlikely to be
back at until early Dec (soonest)
There is, AFAIK, nothing wrong with the muse
How about, for a core repertoire:
*
Peacock,
*
Bewick,
*
the MSS on Farne - particularly the Antiquaries MS, and Crawhall
*
the Clough book,
*
the single octave tunes from Dixon (about half of them),
*
s
Just received this automatic reply:
Anne Moore is currently out of the office until further notice.
Any urgent enquiries should be sent to:
[EMAIL PROTECTED]
What's happening at the museum?
Richard
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>
> Ina wrote:
>
>>
> Each musical composition stands on its own as a creative effort and is
> therefore fully and completely justifiable in its own right. Whether you
> like it or not, or whether it fits into a genre, is always a matter of
> personal, intellectual and emotional taste. H
Presumably the "Traditional" tunes for the NSP would be among those included
in the basic tune books. However I have reason to believe that many of
these started life as fiddle tunes and many more, which lie beautifully on the
pipes (such as Madame Bonapart) came from other parts of what u
on 11/2/06 3:03 PM, Colin at [EMAIL PROTECTED] wrote:
> This debate reminds me all too much of something that happened back in the
> 60's in the "folk scene" when a fellow called Bob Dylan did the second half
> of his show with an electric guitar and half the audience walked out (I was
> there).
One burning at stake coming I think
This debate reminds me all too much of something that happened back in the
60's in the "folk scene" when a fellow called Bob Dylan did the second half
of his show with an electric guitar and half the audience walked out (I was
there).
Ok, the traditio
I agree with many of Patrick's points, but Northumbrian pipes without
drones??? Why, it's like cheese on toast without the cheese!
Saying that, there is a track of Martyn Bennett playing without drones (on
the Highland pipes) and playing along with Tommy Smith, the saxophonist, on
the Tacsi CD,
Hardly - modern NSP and steam locos were invented a few miles and a few
years apart
Apologies to Trevithick though...
Now I'll be excommunicated.
-Original Message-
From: Paul Rhodes [mailto:[EMAIL PROTECTED]
Sent: 02 November 2006 15:59
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: P
Hi All,
Some interesting observations here. Try playing Chatanooga Choo Choo as a
Northumbrian lament. It works a treat and is great fun.
Oh dear, will I be excommunicated?
Best wishes,
Paul Rhodes
_
The new Windows Live Toolbar
Hey up,
I wonder just how many of the list have actually heard NSP's closest
cousin/parent playing in a setting for which it was developped. Joseph
Bodin de Boismortier (1689 - 1755) wrote a great number of pieces
specifically for
musette du cour and hurdy gurdy with and without orchestra(Bar
Absolutely RIGHT ON to what John, Matt and Ina have just posted. I've got
nothing particularly new to say - just thought someone should voice
agreement to such obvious truth & common sense! BUT Patrick is also right in
his points about Riverdance etc. etc. The fact is, we need BOTH the
innovato
Today, there are far more NSPers than probably ever before, but if
anyone needs more than one hand to count the good ones, he is either
very generous, or can't tell the difference between fair and excellent
piping.
I doubt if the number of excellent pipers is greater than it has ever
been. The po
Hi all,
This thread reminds me of the criticism which arose after Robert Sherlaw
Johnson`s compositions, based on the Nelson theme, for Pauline Cato a couple of
years back !! I also distinctly remember that Richard Butler was working with
an avant garde composer approximately 20 years ago, th
On Thu Nov 2 0:37 , 'Doc Jones' <[EMAIL PROTECTED]> sent:
>I've been watching the jazz thread a bit. There seems to be a certain
reluctance to see the NSP being used in venues that are not strictly
traditional.
The jazz thread is a total red herring. Nobody can play jazz on the NSP, the
peopl
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