Following Doreen's interest in baroque music I am looking afresh at the French songs and dances from the operas arranged for two hurdy-gurdies. I find they are not as simple as they appear at first sight. This presents an interesting challenge, and one not to be shirked. French baroque music is not played as it is written but uses an unique musical shorthand indicating many forms of rhythmic and stylistic variation. These musical condiments, as we may call them, are essential in performance and without them the music is dull, and lacks both vigour and expression.
The term baroque means 'highly decorated' and is applied to art and architecture as well as music. The word is pronounced as it is written in German: barock. As in Barock Obama.
During the 18th century this repertoire was played in the many European courts which followed French fashion: Germany, Russia, Italy, Sweden.The music is as highly mannered and intricate as are the dances it accompanies.
On first looking at these short tunes some thought is required to bring them to life and I find it a constant wonder how the latent patterns on a page of music can be coaxed, through the medium of a musical instrument, into the most lively dance music! It is as though a painting has come to life; as though Venus herself has stepped from her shell onto the shore and dances on the strand*.
I am appreciative of your "Birth of Venus" analogy. Last weekend I was able to participate in an excellent workshop with Dr. Robert Green on Baroque music for the hurdy gurdy. Above all, I was reminded of the meticulous attention to detail which is requisite to playing music of the era--not only the ornamentation and the other 'condiments', but also details of instrument maintenance--cottoning, dog design and strings.
On Tue, Apr 24, 2012 at 1:13 PM, michael <mich...@muskett-music.co.uk>wrote:
> ** ** > * *Following Doreen’s interest in baroque music I am looking afresh at > the French songs and dances from the operas arranged for two hurdy-gurdies. > I find they are not as simple as they appear at first sight. This presents > an interesting challenge, and one not to be shirked. French baroque music > is not played as it is written but uses an unique musical shorthand > indicating many forms of rhythmic and stylistic variation. These musical > condiments, as we may call them, are essential in performance and without > them the music is dull, and lacks both vigour and expression. **** * The > term baroque means ‘highly decorated’ and is applied to art and > architecture as well as music. The word is pronounced as it is written in > German: barock. As in Barock Obama. * * During the 18th century this > repertoire was played in the many European courts which followed French > fashion: Germany, Russia, Italy, Sweden…The music is as highly mannered > and intricate as are the dances it accompanies.* * On first looking at > these short tunes some thought is required to bring them to life and I find > it a constant wonder how the latent patterns on a page of music can be > coaxed, through the medium of a musical instrument, into the most lively > dance music! It is as though a painting has come to life; as though Venus > herself has stepped from her shell onto the shore and dances on the strand*. > *
> *Wikipedia: Birth of Venus****
> ** **
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Sounds like someone was at Bloomington's first Midwest HG convention! :^) How was it, Judith? I've looked on fondly from far away, thanks to Tom Lozano's kind FYI's. Vlad
> I am appreciative of your "Birth of Venus" analogy. Last weekend I was able to participate in an excellent workshop with Dr. Robert Green on Baroque music for the hurdy gurdy. Above all, I was reminded of the meticulous attention to detail which is requisite to playing music of the era--not only the ornamentation and the other 'condiments', but also details of instrument maintenance--cottoning, dog design and strings.
> On Tue, Apr 24, 2012 at 1:13 PM, michael <mich...@muskett-music.co.uk> wrote: > Following Doreen’s interest in baroque music I am looking afresh at the French songs and dances from the operas arranged for two hurdy-gurdies. I find they are not as simple as they appear at first sight. This presents an interesting challenge, and one not to be shirked. French baroque music is not played as it is written but uses an unique musical shorthand indicating many forms of rhythmic and stylistic variation. These musical condiments, as we may call them, are essential in performance and without them the music is dull, and lacks both vigour and expression.
> The term baroque means ‘highly decorated’ and is applied to art and architecture as well as music. The word is pronounced as it is written in German: barock. As in Barock Obama.
> During the 18th century this repertoire was played in the many European courts which followed French fashion: Germany, Russia, Italy, Sweden…The music is as highly mannered and intricate as are the dances it accompanies.
> On first looking at these short tunes some thought is required to bring them to life and I find it a constant wonder how the latent patterns on a page of music can be coaxed, through the medium of a musical instrument, into the most lively dance music! It is as though a painting has come to life; as though Venus herself has stepped from her shell onto the shore and dances on the strand*.
> *Wikipedia: Birth of Venus
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The weekend was a good success! Fourteen of us from Boston to North Dakota and points in between, excellent teachers in Tom, Juan, and Robert. Mel Dories was on site as well, so the maintenance discussions were interesting and useful. I particularly liked the helpful and supportive atmosphere--very encouraging and informative. Lovely setting, as well. Only drawback: nobody was ready to go home. Thoughts are, I think, to extend it by a day or so next year.
Wish you weren't quite so far away....
judith
On Wed, Apr 25, 2012 at 7:42 AM, Wolodymyr Smishkewych <
wolodymyrsmishkew...@googlemail.com> wrote: > Sounds like someone was at Bloomington's first Midwest HG convention! :^) > How was it, Judith? > I've looked on fondly from far away, thanks to Tom Lozano's kind FYI's. > Vlad
> On 25 Apr 2012, at 12:36, Judith Lindenau wrote:
> I am appreciative of your "Birth of Venus" analogy. Last weekend I was > able to participate in an excellent workshop with Dr. Robert Green on > Baroque music for the hurdy gurdy. Above all, I was reminded of the > meticulous attention to detail which is requisite to playing music of the > era--not only the ornamentation and the other 'condiments', but also > details of instrument maintenance--cottoning, dog design and strings.
> On Tue, Apr 24, 2012 at 1:13 PM, michael <mich...@muskett-music.co.uk>wrote:
>> ** ** >> * *Following Doreen’s interest in baroque music I am looking afresh at >> the French songs and dances from the operas arranged for two hurdy-gurdies. >> I find they are not as simple as they appear at first sight. This presents >> an interesting challenge, and one not to be shirked. French baroque music >> is not played as it is written but uses an unique musical shorthand >> indicating many forms of rhythmic and stylistic variation. These musical >> condiments, as we may call them, are essential in performance and without >> them the music is dull, and lacks both vigour and expression. **** * The >> term baroque means ‘highly decorated’ and is applied to art and >> architecture as well as music. The word is pronounced as it is written in >> German: barock. As in Barock Obama. * * During the 18th century this >> repertoire was played in the many European courts which followed French >> fashion: Germany, Russia, Italy, Sweden…The music is as highly mannered >> and intricate as are the dances it accompanies.* * On first looking at >> these short tunes some thought is required to bring them to life and I find >> it a constant wonder how the latent patterns on a page of music can be >> coaxed, through the medium of a musical instrument, into the most lively >> dance music! It is as though a painting has come to life; as though Venus >> herself has stepped from her shell onto the shore and dances on the strand*. >> *
>> *Wikipedia: Birth of Venus****
>> ** **
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I remember being there for the planning meetings a few years back, so it is wonderful to see how things have grown into existence. Well, I do hope I can someday make it there for the festival.
> The weekend was a good success! Fourteen of us from Boston to North Dakota and points in between, excellent teachers in Tom, Juan, and Robert. Mel Dories was on site as well, so the maintenance discussions were interesting and useful. I particularly liked the helpful and supportive atmosphere--very encouraging and informative. Lovely setting, as well. Only drawback: nobody was ready to go home. Thoughts are, I think, to extend it by a day or so next year.
> Wish you weren't quite so far away....
> judith
> On Wed, Apr 25, 2012 at 7:42 AM, Wolodymyr Smishkewych <wolodymyrsmishkew...@googlemail.com> wrote:
> Sounds like someone was at Bloomington's first Midwest HG convention! :^)
> How was it, Judith?
> I've looked on fondly from far away, thanks to Tom Lozano's kind FYI's.
> Vlad
> On 25 Apr 2012, at 12:36, Judith Lindenau wrote:
>> I am appreciative of your "Birth of Venus" analogy. Last weekend I was able to participate in an excellent workshop with Dr. Robert Green on Baroque music for the hurdy gurdy. Above all, I was reminded of the meticulous attention to detail which is requisite to playing music of the era--not only the ornamentation and the other 'condiments', but also details of instrument maintenance--cottoning, dog design and strings.
>> On Tue, Apr 24, 2012 at 1:13 PM, michael <mich...@muskett-music.co.uk> wrote:
>> Following Doreen’s interest in baroque music I am looking afresh at the French songs and dances from the operas arranged for two hurdy-gurdies. I find they are not as simple as they appear at first sight. This presents an interesting challenge, and one not to be shirked. French baroque music is not played as it is written but uses an unique musical shorthand indicating many forms of rhythmic and stylistic variation. These musical condiments, as we may call them, are essential in performance and without them the music is dull, and lacks both vigour and expression.
>> The term baroque means ‘highly decorated’ and is applied to art and architecture as well as music. The word is pronounced as it is written in German: barock. As in Barock Obama.
>> During the 18th century this repertoire was played in the many European courts which followed French fashion: Germany, Russia, Italy, Sweden…The music is as highly mannered and intricate as are the dances it accompanies.
>> On first looking at these short tunes some thought is required to bring them to life and I find it a constant wonder how the latent patterns on a page of music can be coaxed, through the medium of a musical instrument, into the most lively dance music! It is as though a painting has come to life; as though Venus herself has stepped from her shell onto the shore and dances on the strand*.
>> *Wikipedia: Birth of Venus
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I'll second Judith's comments. I had a really good time, learned some things, met some great people and reconnected with others I already knew. It was a very good weekend.
>From: Judith Lindenau <jud...@judithlindenau.com> >To: hurdygurdy@googlegroups.com >Sent: Wed, April 25, 2012 7:14:14 AM >Subject: Re: [HG-new] Baroque music performance
>The weekend was a good success! Fourteen of us from Boston to North Dakota and >points in between, excellent teachers in Tom, Juan, and Robert. Mel Dories was >on site as well, so the maintenance discussions were interesting and useful. I >particularly liked the helpful and supportive atmosphere--very encouraging and >informative. Lovely setting, as well. Only drawback: nobody was ready to go >home. Thoughts are, I think, to extend it by a day or so next year.
>Sounds like someone was at Bloomington's first Midwest HG convention! :^) >>How was it, Judith? >>I've looked on fondly from far away, thanks to Tom Lozano's kind FYI's. >>Vlad
>>On 25 Apr 2012, at 12:36, Judith Lindenau wrote:
>>I am appreciative of your "Birth of Venus" analogy. Last weekend I was able to >>participate in an excellent workshop with Dr. Robert Green on Baroque music for >>the hurdy gurdy. Above all, I was reminded of the meticulous attention to >>detail which is requisite to playing music of the era--not only the >>ornamentation and the other 'condiments', but also details of >>instrument maintenance--cottoning, dog design and strings.
>>>On Tue, Apr 24, 2012 at 1:13 PM, michael <mich...@muskett-music.co.uk> wrote:
>>>> Following Doreen’s interest in baroque music I am looking afresh at the French >>>>songs and dances from the operas arranged for two hurdy-gurdies. I find they are >>>>not as simple as they appear at first sight. This presents an interesting >>>>challenge, and one not to be shirked. French baroque music is not played as it >>>>is written but uses an unique musical shorthand indicating many forms of >>>>rhythmic and stylistic variation. These musical condiments, as we may call them, >>>>are essential in performance and without them the music is dull, and lacks both >>>>vigour and expression.
>>>> The term baroque means ‘highly decorated’ and is applied to art and >>>>architecture as well as music. The word is pronounced as it is written in >>>>German: barock. As in Barock Obama.
>>>> During the 18th century this repertoire was played in the many European >>>>courts which followed French fashion: Germany, Russia, Italy, Sweden…The music >>>>is as highly mannered and intricate as are the dances it accompanies. >>>> On first looking at these short tunes some thought is required to bring them >>>>to life and I find it a constant wonder how the latent patterns on a page of >>>>music can be coaxed, through the medium of a musical instrument, into the most >>>>lively dance music! It is as though a painting has come to life; as though Venus >>>>herself has stepped from her shell onto the shore and dances on the strand*.
>>>>*Wikipedia: Birth of Venus
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> I'll second Judith's comments. I had a really good time, learned some > things, met some great people and reconnected with others I already knew. > It was a very good weekend.
> *From:* Judith Lindenau <jud...@judithlindenau.com> > *To:* hurdygurdy@googlegroups.com > *Sent:* Wed, April 25, 2012 7:14:14 AM > *Subject:* Re: [HG-new] Baroque music performance
> The weekend was a good success! Fourteen of us from Boston to North > Dakota and points in between, excellent teachers in Tom, Juan, and Robert. > Mel Dories was on site as well, so the maintenance discussions were > interesting and useful. I particularly liked the helpful and supportive > atmosphere--very encouraging and informative. Lovely setting, as well. > Only drawback: nobody was ready to go home. Thoughts are, I think, to > extend it by a day or so next year.
> Wish you weren't quite so far away....
> judith
> On Wed, Apr 25, 2012 at 7:42 AM, Wolodymyr Smishkewych < > wolodymyrsmishkew...@googlemail.com> wrote:
>> Sounds like someone was at Bloomington's first Midwest HG convention! :^) >> How was it, Judith? >> I've looked on fondly from far away, thanks to Tom Lozano's kind FYI's. >> Vlad
>> On 25 Apr 2012, at 12:36, Judith Lindenau wrote:
>> I am appreciative of your "Birth of Venus" analogy. Last weekend I was >> able to participate in an excellent workshop with Dr. Robert Green on >> Baroque music for the hurdy gurdy. Above all, I was reminded of the >> meticulous attention to detail which is requisite to playing music of the >> era--not only the ornamentation and the other 'condiments', but also >> details of instrument maintenance--cottoning, dog design and strings.
>> On Tue, Apr 24, 2012 at 1:13 PM, michael <mich...@muskett-music.co.uk>wrote:
>>> ** ** >>> * *Following Doreen’s interest in baroque music I am looking afresh at >>> the French songs and dances from the operas arranged for two hurdy-gurdies. >>> I find they are not as simple as they appear at first sight. This presents >>> an interesting challenge, and one not to be shirked. French baroque music >>> is not played as it is written but uses an unique musical shorthand >>> indicating many forms of rhythmic and stylistic variation. These musical >>> condiments, as we may call them, are essential in performance and without >>> them the music is dull, and lacks both vigour and expression. **** * The >>> term baroque means ‘highly decorated’ and is applied to art and >>> architecture as well as music. The word is pronounced as it is written in >>> German: barock. As in Barock Obama. * * During the 18th century this >>> repertoire was played in the many European courts which followed French >>> fashion: Germany, Russia, Italy, Sweden…The music is as highly >>> mannered and intricate as are the dances it accompanies.* * On first >>> looking at these short tunes some thought is required to bring them to life >>> and I find it a constant wonder how the latent patterns on a page of music >>> can be coaxed, through the medium of a musical instrument, into the most >>> lively dance music! It is as though a painting has come to life; as though >>> Venus herself has stepped from her shell onto the shore and dances on the >>> strand*. *
>>> *Wikipedia: Birth of Venus****
>>> ** **
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