[Most Recent Entries]
Below are the 19 most recent journal entries recorded in
Renaissance Music's LiveJournal:
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|Tuesday, December 8th, 2009|
|Wednesday, September 9th, 2009|
|Tuesday, June 30th, 2009|
|Tuesday, June 23rd, 2009|
|Thursday, July 17th, 2008|
Concert: Friday 7/18 8pm: Virginal and Organ Music in the Times of Henry VIII
July 18th 2008 Friday 8pm:
Virginal and Organ Music in the Times of Henry VIII.
I will perform rare keyboard music in the times of Henry VIII, on both the virginal and the organ. Music by Redford, Taverner, Aston, van Wilder, and Attaingnant, and more. You now have the rare opportunity to come listen to the music of the court of Henry VIII, before the Elizabethan days of Byrd, Bull, and Gibbons.
St. Alban's Episcopal Church, Albany, CA
1501 Washington Avenue (at the corner of Curtis & Washington), Albany, CA 94707
Phone: (510) 525-1716
Admission Free. Donations Appreciated.
|Monday, July 14th, 2008|
I am setting my harpsichord/virginal concert program for this Friday right now, and I will play quite a few early renaissance dance pieces. However, with the exception of the Pavane, I don't know how to dance the rest of them: Branle simple, Branle double, Basse Dance, Passamezzo Antico, and the Galliard. I'd like to know if any of you know how to dance these, or know anyone who knows, or simply send me a link of a video of how these dances work. Unlike Baroque music, early renaissance virginal dances are practical dances, ie, they really did expect people to dance to the virginal. So I need to know how the dances go (especially the tempo), etc. I do not trust the tempo set by Elizabethan dances, since by that time the virginal dances were already turned into art music. The tempo no longer reflected the real speed to which the dancers danced.
I myself am a historical dancer, but I don't know much about dances before the Baroque. I have studied quite a bit of historical dancing, including choreography, and I know that some renaissance dances can be recreated (Arbeau), some cannot (especially the older types in late Medieval times). I also know that some dances used in the SCA are not historical, for they are either re-creation from historical research, or simply brand new. But that sure beat not knowing anything at all..
Please forward this post to whatever lj community that you know that fits my questions..
If you live around the San Francisco Bay Area, please come to my concert. It will be on July 18th, 8pm, at St. Alban's in Albany (next to Berkeley). It is listed here:http://www.st-albans-albany.org/concerts
|Friday, February 1st, 2008|
Monteverdi as recorded by I Fagiolini
I'm a huge fan of I Fagiolini, so I wanted to share this with you in case you've not encountered their magic.
This week the second CD of their series on Monteverdi is out (launched with tracks played on BBC Radio 3) - Fire and Ashes.
From Robert Hollingworth in the I Fagiolini newsletter -
"We know that it's going against fashion for a British group to be recording Italian
Renaissance repertoire at the moment. 20 years ago, of course, and you could
practically only buy the Consort of Musicke doing this repertoire. Then along came
'Concerto Italiano' and 'La Venexiana' (interestingly pretty much the same singers
but the countertenor directing) came along and everything changed.
One of the unspoken 'truths' of this repertoire is the nicely comfortable assumption
that Italians must be best at doing their own repertoire. This may or may not be
true of these two specific Italian groups but it's a dangerous assumption to make in
general. We feel that we have something to say about the repertoire and our series
is also marked by not releasing it book by book but by an imaginative mixing of
genres so that each disc provides a very complete selection of his repertoire."
"On this new disc comes what some may think as a slightly new sound for I Fagiolini:
the familiar richer sound for moments of passion but straighter at moments of
dissonance. This is heard to advantage in the sumptuous 'Rimante in pace' and the
funereal lament, 'Sestina'. Also, fiery tenor duets, an extraordinarily virtuosic
bass solo covering two and a half octaves, new thoughts on a Ballo as well as two
Reception of the first CD in the series, released last year -
Gramophone: "Do not miss this wide-ranging survey on any account"; The Telegraph named it as a 'CD of the year'.
The CDs are on Chandos Chaconne.
Reviews of I Fagiolini's film 'The Full Monteverdi' -
Classic FM Mag: 5 stars and 'This brilliant film'
but a US magazine apparently gave it just 2 stars and a criticism that it's not the same as the live version. I don't know which magazine, but... of course it's not the same as the live version, or rather as any of the live versions because each was different. A film gives scope for other ways of putting the drama across, while it would have to lose some of the intimacy and immediacy of having the couple you'd been talking to over a glass of wine suddenly start to have a row in music.
|Thursday, January 24th, 2008|
|Sunday, November 25th, 2007|
|Monday, May 28th, 2007|
"Krakow - miasto w ksztalcie lutni" XVI c.
"Cracovia totius Poloniae urbs celeberrima" - in other words, "Krakow, the most famous city in all Poland" will solemnly celebrate the 750th anniversary of the granting of the Magdeburg Rights in 2007. Naturally, this does not mean that Krakow was established only in the 13th Century. In fact, the city had already existed for a long time. If we are to believe the chroniclers, in around the year 700 Prince Krak, acting together with the shoemaker Skub (also known as Skuba) killed a dragon and founded Krakow.
We cordially invite all the inhabitants of our city and all our guests to join us in celebrating the anniversary together.
For You, dear http://community.livejournal.com/renaissancemuse/profile
this celebration can be useful and iteresting for the reason of LUTE CONCERTS(that were organized by Antony Pilch here
, polish lutenist) in which take part such great lutenists as Hopkinson Smith, Christopher Goodwin, Francisco Orozko
3.06.2007(sunday) 4.30 p.m.
"Shakespeare´s Lute" concert
the Benedictine Abbey
the "Shakespeare´s Lute" concert at the Benedictine Abbey, presenting songs and duets by the most eminent composers of the Elizabethan England. With: Jeni Melia - soprano, Christopher Goodwin - baritone, lute.
5.06.2007(teusday) 7.30 p.m.
The "King David´s Lute" concert
the Augustinian St. Catherine´s Church
the King David´s Lute concert at St. Catherine´s Church, presenting mediaeval European songs and lute compositions. With Francisco Orozco - countertenor.
10.062007(sunday) 7.30 p.m.
The Renaissance Lute concert
The Augustinian St. Catherine´s Church
The Renaissance Lute concert (St. Catherine´s Church). The concert by Hopkinson Smith will present works by Francesco da Milano and John Dowland .
And not only! more
|Friday, May 25th, 2007|
|Saturday, November 11th, 2006|
Tudor, as in two door or four door?
So which is it, two door or four door. No doubt, that in those days any such thing could even be conceived, that is unless, you had a mind like Da Vinci. Current Mood: silly
|Thursday, November 9th, 2006|
This site doesn't seem to be all that active
I just noticed that no one has posted anything since September of this year and before that, since December of last year. I found the same thing in the Beethoven lovers community. I get the impression, mistaken though it might be, that people just aren't alll that enthused about posting more regularly and if that is the case, well then, why bother to post because this a period in music history that truly fascinates and enthralls. Is there something that I am missing here? Oh by the way, when I look through my choice of moods to click on, it's usually hard to really pick the right one, but one that I have always wondered about is the word, 'exanimate'. Well I see, it means feeling lifeless; also, not feeling so animated, and now that I know what it means, I might use that a little more often. Current Mood: exanimate
|Wednesday, November 8th, 2006|
ah, I have found it, now if......
At last I have found it, now if I can just keep track of all the other communities that I have joined. Anyhow, I love this period but I am new to this group and before I joined I had read some the more recent posts, and I must say that I am impressed by some of you, particularly that individual who's only 16 and yet one who has learned so much since I hardly knew a thing way back when but anyhow, [and many mea culpas, if necessary] I still listen to cassettes of Renaissance choral muic, most of which have been dubbed from CD', at least, and I can't get enough of it so I pretty much listen to the same composers but yet, I just don't get tired of hearing the glorious harmonies and some of my favorites are Antonio Caldara, Tomas Luis de Victoria, Palestrina, Gabrielli, de Brito, Lobo, de Lassus [any relation to di Lasso?], and so forth but I know there's so much more. I now remember reading a post by an individual who loves Dowland, as do I, and for me, the main authority on him and early Spanish works by [forerunners?] or cousins of the lute in none other than Julian Bream.
A friend of mine burned, I think, all of his lute music recordings on an MP3 and how impressive it is and I also like Holborne and some others. Well, happy listening Current Mood: satisfied
|Monday, September 25th, 2006|
I'm currently dealing with an article arguing for a Schenkerian approach to analysis of plainchant, Machaut, Dufay and Palestrina. Tonic-dominant progressions? Intentional outlining of triads? Triadic tonality as a core structural element? Harmonic prolongations of tonic, subdominant, dominant, etc?
I'm not buying it. Discussion?
(x-posted to medieval_music
|Tuesday, December 6th, 2005|
Um...I'm 19, going to college for paleontology, but I'm in love with early music. The school choir (which I'm in) is singing Gabrieli's Magnificat at our Christmas concert (as well as one by Schutz, but I think he's counted more as a Baroque dude). Unfortunately, because nobody in the choir is a music major--we're all science people here--just getting everyone to be able to sing the right notes at the right time is hard enough, so we're not even trying to sing it in style ;_;. Alas.
Anyway! I've recently become interested in...bass recorder! I love low instruments :D. But I don't know if that's even worth me pursuing, since I'm trained on violin, and I don't know if I want to save my time and money for a Baroque-style violin or see what happens with recorders. plus I'm a little unsure of where to even start when it comes to recorders, but my mom's a woodwind player so I guess I'll ask her about it :}.
So yeah that's about it for now. Time for lunch!
|Sunday, December 4th, 2005|
Middle French pronunciation
Does anyone have, or know where I could find, a guide to pronouncing Middle French? I want to make some HA renderings of Josquin's chansons
, and it's obvious that the French of that date isn't to be pronounced in the modern manner.
Can anyone help?
|Wednesday, September 7th, 2005|
I'm trying to set up an early music group in my area (Las Cruces, NM; El Paso, TX). But I am running into a problem. First of all there are already three groups there, second of all none of the musicians in those groups are competant (or simply scared of my ability). All of them seemed to be stuck in the 60s early music mentality.
Still insist on playing on 440, or SATB set up for example.
I wanted to form a group that is truly historical as much as possible, beyond HIP, that means setting up instrument in historical fashion down to the position of where everyone sit, how the concert should be conducted, historical pitch and temperament level, we should wear costumes, perform pieces from facsimiles or original xerox printing (neither modern scores nor mdoern staffs). If possible I would even want renaissance and baroque dancers to attend and dance while we play, or serve munchies with historical recipes....exactly the way the music was done back then. I want my audience to experience a time travel, not a musuem demonstration.
I am frustrated by the lack of people who actually can make historical preformance ALIVE. I am also frustrated by the lack of understanding of the local early musicians. Our best recorder player cannot play in tenor or sorpano clef, let alone french. SO when I play with them I am stuck with modern arangements. Renaissance and Baroque improvisation also was foreign to them. I do not know whether it is to get pissed off, or to laugh.
There are a lot of musicians there who are fantastic, but are so clueless about true geopolitical historical background that the performance becomes more like a museum display.
If you live around my area, if you are interested in forming a group with me, let me know. I am even willing to teach. If you are a trumpet player I'll convert you into a cornetto player...
|Saturday, June 11th, 2005|
Кто-нибудь знает, что за лютни MidEast Mfg.? И как цена: 800$ для ренессансной?