Rebec for sale
T.A. RAYBORN
I have a Bernard Ellis bass rebec for sale to anyone who might be
interested. As is typical of Ellis instruments, it is very well made,
and elegantly shaped, with a lovely sloping fingerboard and rounded
back.
It is large (about 3 feet, or perhaps a bit less), with the usual
three gut strings, and has a nice, deep sound, quite good for drones.
It is in good condition, though there are a few marks here and there,
which doesn't affect the sound, of course!
I don't have either a bow or a case for it, but I presume an
interested buyer might have a bow already.
It would have sold originally for around 1,000 pounds (or more), but I
am willing to part with it for 400 pounds (or the best offer, I MIGHT
be bargained down, so give it a try!), including shipping costs.
Anyone interested can e-mail me privately at:
trs...@arts-01.Novell.Leeds.AC.UK
Remember that I live in England, so shipping costs outside of the UK
might be considerable, and there's also that exchange rate business!
Tim Rayborn
EMAR...@mecn.mass.edu
Date sent: 22-JUL-1996
Hi Tim:
Sorry, but I'm not interested in the rebec. I wrote because I noted
your address at Leeds and was wondering how big the Early Music
instrument scene was in West Yorkshire.
I have one daughter, Alice, who is a medieval instrument maker up in
Glasgow, and have been trying to enveigle her down to West Yorkshire as
being a better location to market her product than in Scotland, though
she does make a fair number of harps. She does come down making
deliveries to the Early Music Shop from time to time and I have been
trying to get her to at least look at the Huddersfield Music Workshops
which I think provide better facilities than those which she currently
has. Maybe she did it when she came down to the York EMF Any comments
on EMF in Yorkshire?
Oddly my other daughter has just been plucked from America and plunked
at the University of Leeds. Christine arrived there last week to take
a position as lecturer in the Politics Department. Christine has no
interest in Early Music though and has little in common with Alice so
I doubt that she wounld care to find out anything on the subject.
Ed Margerum
emar...@mecn.mass.edu
Jack Campin
[ Note to soc.culture.scottish readers - this is crossposted, and
the rec.music.early readership don't appreciate irrelevant waffle. ]
EMAR...@MECN.MASS.EDU writes in rec.music.early:
[ I think this was private email posted by mistake, but what the hell... ]
> I have one daughter, Alice, who is a medieval instrument maker up in
> Glasgow, and have been trying to enveigle her down to West Yorkshire as
> being a better location to market her product than in Scotland, though
> she does make a fair number of harps. She does come down making
> deliveries to the Early Music Shop from time to time and I have been
> trying to get her to at least look at the Huddersfield Music Workshops
> which I think provide better facilities than those which she currently
> has.
Does it strike anyone else that Scotland has a remarkably torpid early
music scene? Outside of church music (where some choirs do a good job,
particularly at reviving the music of Robert Carver) pre-1750 music gets
virtually no performances; there is one semi-professional resident group
based in Glasgow, the Scottish Early Music Consort, who put on four fairly
mediocre gigs a year; one large and truly appalling amateur group based in
Edinburgh who surface once or twice a year; the Society of Recorder Players,
with its infantile repertoire; and sporadic attempts at networking that
don't ever seem to achieve much.
Scotland never really had a self sustaining art music tradition until this
century (and maybe not even now - most contemporary composers owe more to
foreign influences than any home-grown movement), but that doesn't stop the
Americans or the Scandinavians, with the same problem, doing a lot better
than us. I suspect the SEMC are somehow managing to manipulate things so
that more imaginative performers of mediaeval and Renaissance instrumental
music and secular song than them don't get to perform here; I can't think
of any such concert for many years. There is no external impetus to create
fresh excitement about this music.
Have there been any notable performers of early music to emerge from this
country in the last generation? I can't remember one. I'm not surprised
Ed Margerum's daughter is having a hard time.
I'd like to have some positive suggestions, but apart from "shoot Warwick
Edwards" I can't think of much.
-----------------------------------------------------------------------------
Jack Campin ja...@purr.demon.co.uk
T/L, 2 Haddington Place, Edinburgh EH7 4AE, Scotland (+44) 131 556 5272
--------------------- Save Scunthorpe from Censorship ---------------------
Polly Moller
My colleague Maria Ezerova at UC Santa Cruz did her master's thesis work
on the keyboard music of a Scottish composer of the 1600's, William
Kinmont. (Please forgive me if I have his surname wrong; it's been a
few years since I talked to Maria!) She played his music on virginal
and harpsichord at her master's recital and I found it quite lovely.
Polly Moller
--
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Polly Moller * Silver Wheel Music:415/969-9380 * aria...@best.com
http://www.best.com/~arianrod
Producer, _Women's Alternative_
"Your rules are beginning to annoy me." --Snake Plisken
-------------------------------------------------------------------
John Armstrong
In article <arianrod-250...@arianrod.vip.best.com>,
aria...@best.com (Polly Moller) wrote:
>My colleague Maria Ezerova at UC Santa Cruz did her master's thesis work
>on the keyboard music of a Scottish composer of the 1600's, William
>Kinmont. (Please forgive me if I have his surname wrong; it's been a
>few years since I talked to Maria!) She played his music on virginal
>and harpsichord at her master's recital and I found it quite lovely.
William Kinloch (late 1500's; he was a secret emissary to Mary Queen of
Scots when she was imprisoned in England).
(Totally irrelevant note follows!)
There was a "Kinmont Willie" Armstrong, who was falsely imprisoned in
Carlisle Castle at around the same time, and daringly rescued therefrom.
John Armstrong
Dundee
Scotland
"Indecision is the key to flexibility."
Paul Oberlin
Polly Moller wrote:
>
> My colleague Maria Ezerova at UC Santa Cruz did her master's thesis work
> on the keyboard music of a Scottish composer of the 1600's, William
> Kinmont. (Please forgive me if I have his surname wrong; it's been a
> few years since I talked to Maria!) She played his music on virginal
> and harpsichord at her master's recital and I found it quite lovely.
>
The surname is Kinloche. For those interested, there is an excellent
disc of his music, "Kinloche his Fantassie" played by John Kitchen on the
ASV label (GAU 134). Kitchen also plays a Harpsichord, and one of the
loveliest sounding Virginals I've heard on record.
Paul Oberlin
Paul.O...@Medtronic.com
Thomas A. Barnard
SB William Kinloch - TB
On Thu, 25 Jul 1996, Polly Moller wrote:
> My colleague Maria Ezerova at UC Santa Cruz did her master's thesis work
> on the keyboard music of a Scottish composer of the 1600's, William
> Kinmont. (Please forgive me if I have his surname wrong; it's been a
> few years since I talked to Maria!) She played his music on virginal
> and harpsichord at her master's recital and I found it quite lovely.
>
Alberich
Scotland never had a self sustaining musical tradition?
You're doing your country down here. Read Helena Mennie Shire's work
on music in 16c Scotland (Music and dance at the court of King James
IV, I think. . . ) . . . and there's also a Musica Brittanica volume
with some gorgeous Scottish music of the period in it. To my mind it
beats the Henry VIII book hollow.
Alberich
http://ourworld.compuserve.com/homepages/andreak/