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Galicia's Carlos Nuñez, 'The Jimi Hendrix of The
MUSIC & NIGHTLIFE | Posted on Fri, Jan. 31, 2014 | Article Page 1 of 2 Galicia’s Carlos Nuñez, ‘the Jimi Hendrix of the bagpipes,’ plays here Wednesday By Fernando Gonzalez | Special to the Miami Herald Carlos Nuñez is far more than “the Jimi Hendrix of the bagpipes,” or the “the seventh Chieftain,” an honorary member of the legendary traditional Irish band. But if you happen to be the modern master of the gaita, the bagpipe of Galicia, a region in the northwest corner of Spain, maybe such barker’s calls help make new audiences stop and look. The truth is richer. Nuñez is a classically trained multi-instrumentalist. (He also plays flute, recorder, whistles and a number of traditional instruments.) And he is both a traditionalist and an innovator, playing a key role in preserving the gaita, an instrument that is a symbol of Galician culture yet was once fading to extinction. His collaborations speak to the universality of this instrument and the possibilities for its future. Over the years Nuñez has collaborated with The Carlos Nuñez plays the gaita, the bagpipe of Galicia. Chieftains, Ry Cooder, Compay Segundo, Mike Scott of The Waterboys and Japanese composer Ryuichi Sakamoto as well as flamenco guitarists and Sufi singers from Tangier. His 1996 debut recording, A Irmandade Das Estrelas (The Brotherhood of Stars), an improbable platinum seller in Spain, featured more than 50 guests. “Collaborations are my modus operandi,” says Nuñez who begins his new North American tour at the Coral Gables Congregational Church on Wednesday night. “It´s a philosophy that comes from traditional music — especially Celtic music. -
12 March 2010 Page 1 of 25
Radio 3 Listings for 6 – 12 March 2010 Page 1 of 25 SATURDAY 06 MARCH 2010 Schubert, Franz (1797-1828) Polonaise for violin and orchestra in B flat major (D.580) SAT 01:00 Through the Night (b00r2lk9) Peter Zazofsky (violin), Prima La Musica, Dirk Vermeulen Jonathan Swain presents rarities, archive and concert (conductor) recordings from Europe's leading broadcasters 03:43AM 01:01AM Brun, Fritz (1878-1959) Hotteterre, Jean [père] (1610-1682) Symphony No.2 in B flat La Noce Champêtre ou l'Himen Pastoral Berne Symphony Orchestra, Dmitri Kitaenjko (conductor) 01:13AM 04:22AM Chédeville (Le Cadet), Nicolas (1705-1782) Franck, Cèsar (1822-1890) Recorder Sonata in G minor (Op.13 No.6) Piece pour grand orgue en la majeur (1854) 04:32:48AM 01:21AM Élévation in A major (1859) Hotteterre, Jacques (1674-1763) Les Délices ou Le Fargis Joris Verdin (organ of the Cathedral of St-Étienne de St-Brieuc) 01:26AM 04:38AM Forqueray, Antoine ['le père'] (1671-1745) Moniuszko, Stanislaw (1819-1872) Two keyboard pieces Overture to Flis 'The Raftsman' (1858) Polish Radio Symphony Orchestra, Jerzy Salwarowski 01:35 AM (conductor) Chédeville (Le Cadet), Nicolas (1705-1782) Les Saisons Amusantes Part II 04:47AM Les Saisons Amusantes Part IV (L'Hiver) Pachelbel, Johann (1653-1706) [text: Luke 1/46-55] Magnificat 01:52AM Cantus Cölln Marais, Marin (1656-1728) 4 works for Viola da gamba & bass continuo. from Pièces de 04:53AM Viole, 5me livre, Paris 1725 Rosenmüller, Johann [Giovanni] (c.1619-1684) Sonata quarta à 3 - from 'Sonate' (Nuremburg 1682) 02:05AM Ensemble La Fenice, Jean Tubéry (cornet & conductor) Naudot, Jacques-Christophe (1690-1762) Modérément - for 2 high voices (recorder and violin) and bass 05:01AM continuo from Six Fêtes rustiques op. -
Codex Chantilly Discography
Codex Chantilly Discography Compiled by Jerome F. Weber In its original form, this discography of the Codex Chantilly, MS 564 was dedicated to Clifford Bartlett for the 166 issues of Early Music Review and published in the final print issue (No. 166, June 2015). A number of additions and corrections have been made. This version has been formatted to match the Du Fay and Josquin des Prez discographies on this website. The works are listed alphabetically and identified by the index numbers in the facsimile edition published by Brepols in 2008. The recordings are arranged chronologically, citing conductor, ensemble, date of recording if known, and timing if available. Following is the issued format (78, 45, LP, MC, CD, SACD), the label, the issue number(s) and album titles. Eighty-seven out of 112 titles have been recorded. A composer index has been added at the end. Acknowledgment is due to Todd McComb’s website, www.medieval.org/emfaq, and Michael Gray’s website, classical-discography.org for details of some entries. Additions and corrections may be conveyed to the compiler for inclusion in a revised version of the work. Go to Chantdiscography.com and click on ‘contact us’. A scan of a CD booklet that provides needed data would be invaluable. December 2016 In the same series: Aquitanian and Calixtine Polyphony Discography Codex Las Huelgas Discography Codex Montpellier Discography Eton Choirbook Discography 1 Adieu vos di, tres doulce compaynie, 74 (Solage?) Marcel Pérès, Ens. Organum (rec. 1986.09.) [3:38] instrumental LP: Harmonia Mundi HM 1252 CD: HMC 901252; HMT 7901252; HMA 1951252 “Airs de Cour” Crawford Young, Ferrara Ens. -
SYRIAN CULTURAL CARAVAN Art, the Universal Language
Marseille, juillet 2014 SYRIAN CULTURAL CARAVAN Art, the universal language THE PROJECT’S BIRTH The Syrian Cultural Caravan, entitled ‘Freedom for the Syran People, was born in 2014 at the initiative of Syrian intellectuals supported by a group of Syrian-European associations. Its goal is to promote Syrian civil society and contemporary Syrian art and culture. In March 2011, after half a century of totalitarian rule and forty years of the Assad’s clan dictatorship, the Syrian people took to the streets demanding their freedom and dignity. The regime responded with weapons, but the response came in different ways: the pen, the spoken word, the brush, and the chisel. It is this creativity in the face of constant repression that the Syrian Cultural Caravan aims to sustain. The caravan carries the work of young Syrian artists and shows them to the world with the desire to communicate their message through the universal language of art, literature, video, music and poetry. THE INITIAL STEPS SUStaINABILIty OF THE In the summer of 2014 the Syrian Cultural Caravan made its debut on 12 July at Place PROJECT du Maréchal Joffre (Paris 7e) and in front of the Wall For Peace. From there on, there The first trip of the Syrian Cultural Caravan in have been art exhibitions, film screenings, poetry readings in Arabic and French, street the summer of 2014 our organisers noted that theatre performances, choreography and modern dance, political debates, and musical every meeting had positive exchanges that led concerts. The majority of these activities took place outdoors, and were very warmly and to setting up new activities. -
Both a High Plateau and an Occupied Area, the Golan Is Dreamt As a Playground, a Place of Exchange, a Crossroad of Modernity…
« Both a high plateau and an occupied area, the Golan is dreamt as a playground, a place of exchange, a crossroad of modernity… 11th october 2016 (Ultrack / Muséa) 9th may 2017 (Ultrack / Muséa) «Tunisia, France, Palestine ... For his ensemble "Golan", the double bass player Hubert Dupont gathered around him virtuosos musicians from all over the Mediterranean. Nothing surprising for this insatiable curious baroudor, always eager of exchanges with other cultures. Arab tradition? Jazz? Their music belongs to these two worlds and even more so, but is an authentic encounter, an elsewhere beyond cleavages. An ideal of musical fraternity as much as a hymn to freedom, for an "oriental journey" different from others. " Pascal Rozat (France Musique) Video Side 1 Video Tusi Video Side 2 Zied Zouari Hubert Dupont Precocious child, Zied Zouari won the first prize of Violin Electric bassist, double bass player, composer, children performers in Tunis, gold medals of the Double bass Hubert Dupont paces the adventurous paths of children's festival in Kram then at the first creative music - improvised or premeditated. meeting of young Arab musicians in Dubai. He recorded with the New York sax Rudresh In Paris since 2006, he met famous musicians such Mahanthappa, fed his music with African music as Sylvain Luc, Bojan Z, Nizar Rohana, Manu Thé- (with Sabar Ring, or with Sawadu: Brice Wassy, ron, Khaled, Thione Seck, Emel Mathlouthi ... Hervé Samb), oriental (with the pianist Elie Maa- Doctor of music and musicology, holder of a DEM louf), he has shared the electrical adventure in jazz and improvised music and of Didier Polyrhythmic by Stéphane Payen; with Nigma-e, Lockwood's diploma, he is becoming a reference he also practiced improvised electronic music with of contemporary Arabic violinist language by his interactive video; the poetic alchemy of his fusional approach and his various influences compositions shows his search for new forms, ranging from Afro-Arabic music And Indo-Turkish where polyrhythms and harmonies of another music to classical music, jazz and world music. -
Holiday Music on WFMT See Page 2 for Highlights
Holiday Music on WFMT See page 2 for highlights. ALSO INSIDE This month on WTTW11, we celebrate the season with The Wheaton College Christmas Festival: Love Divine, a concert by the Mormon Tabernacle Choir, and two holiday specials ñ Call the Midwife and Last Tango in Halifax. MEMBER CONNECTIONS Andrea Bocelli in Concert Ethan Bortnick LIVE in Andrea Bocelli returns to the U.S. for seven concerts only of rep- WHAT Concert ertoire from his Grammy-nominated album Cinema, special selec- Andrea Bocelli in Concert tions from his groundbreaking release Romanza, and a selection of beloved arias, love WHERE songs, and crossover United Center hits. 1901 W. Madison Street in Chicago The concerts will be led by Maestro WHEN Eugene Kohn and will Wednesday, December 6, also feature soprano 7:30 pm Larisa Martinez and Broadway sensation and Chicago native Heather Headley. The Lyric Opera Orchestra and Chorus will join Bocelli for this special concert. WTTW is excited to offer tickets to see one of the world’s most celebrated tenors at the United Center on Wednesday, December Andrea Bocelli Ethan Bortnick 6, 2017 at 7:30 pm. Visit wttw.com/events to purchase tickets. WHAT Ethan Bortnick LIVE in Concert Celtic Thunder in Concert Celtic Thunder International singing sensation Celtic Thunder have WHERE scheduled a downtown Chicago performance as part of their Park West upcoming North American Symphony Tour. 322 W. Armitage Avenue This will be the second Symphony Tour for Celtic WHEN Thunder, who will depart from their traditional and critically Sunday, May 6, acclaimed large set productions to perform their hits, songs 7:30 pm from their Christmas albums, and songs from their new Celtic Thunder Inspirational album, in a dynamic live music experience accentuated by the instrumentals of full sym- Recognized by the Guinness World Records as phony orchestras. -
Johann Sebastian Bach: Dazu Ist Erschienen Der Sohn Gottes – BWV 40 Allegorical Symbolism and Rhetorical Devices
Johann Sebastian Bach: Dazu ist erschienen der Sohn Gottes – BWV 40 While most commentators observe the military aspects present in the cantata’s text, a great deal of the commentary overlooks or is unaware of the important element of rhetoric (“musical speech”) in the Baroque, especially the use of the horn and its connection to classical Roman motifs. I’m focusing the discussion on that subject for this week, and specifically for the opening chorus for this cantata; I believe that for Bach and his peers, the use of the horn in Christmas cantatas was a rhetorical device to conjure images of Roman triumphal processions: the triumph of Caesar marching into Rome, with Jesus Christ as the new victor, having conquered Satan. Allegorical symbolism and rhetorical devices Philip Pickett’s research into Baroque notions of rhetoric and its background in allegorical drama and court spectacle is vitally important, and I’ll do my best to give a summary of his theory, with extensive quotes from his notes to the Brandenburg Concertos. During the Baroque, composers saw music as a form of speech, and compositions were seen as musical conversations. Using classical authors such as Quintilian and Cicero, the five elements of rhetoric were applied to music: inventio and dispositio were applied to musical composition: elocutio, memoria and actio were applied to musical performances. Using his poetic text as a launch point (the loci topic), Philip Pickett a composer would use nuggets of musical inspiration which could be expanded into a complete movement or even composition of several movements. This composition could then be understood as a sophisticated speech. -
Winter 2014 V Ol
winter 2014 ol. LV, No. 4 • www.americanrecorder.org V Published by the American Recorder Society, Editor’s ______Note ______ ______ ______ ______ Volume LV, Number 4 Winter 2014 Features ver my last couple of decades, as ARS Executive Director and then AR edi- Playing for Keeps: tor,O I’ve penned pieces mentioning research Alzheimer’s can’t rob musician of her talent . 11 that links musical activity with improved brain function in advancing years .Thus I By Rebecca Hutchinson was intrigued to learn of a short DVD about 6 Buna Fletcher and how her Alz heimer’s is Departments held at bay when she plays the recorder . After discovering that Buna’s longtime Advertiser Index . 40 neighbor was writer Rebecca Hutchinson, it became possible to expand a simple Compact Disc Reviews . 25 announcement of a DVD’s availability into Kathryn Bennets and Peter Bowman explore a full-length article (page 11) . It’s personal— the Antarctic and other places about Buna and her faithful friend Doortje Shover —yet research-based . It is of interest Chapters, Consorts & Recorder Orchestras . 38 10 to all of us who hope not to die young! More 2014 birthdays I want to offer my thanks to those responsible for my receiving the Presidential Education . 23 Special Honor Award—not only the ARS Gustavo de Francisco continues his series on tuning Board, who awarded it to me, but also many Music Reviews . 29 people worldwide who are willing to give of themselves to help the ARS and AR .The Music of the 18th century and beyond solitary nature of my work as AR editor President’s Message . -
Curriculum Vitae
CURRICULUM VITAE Elizabeth Walker (formerly Stanbridge) Telephone 07808 579979 01749 899401 Email [email protected] Website www.lizwalker.co.uk www.continuumtrio.co.uk Education 1989 – 1992 Koninklijk Conservatorium, The Hague Wilbert Hazelzet – Baroque & Classical Flute Riccardo Kanji - Recorder 1985 – 1989 Guildhall School of Music and Drama Kathryn Lukas – Modern Flute Stephen Preston – Baroque Flute Philip Pickett – Recorder 1980 – 1985 Royal College of Music, Junior Department Ross Winters and Elizabeth Page – Recorder Maggie Ogonovsky and Joan Hale - Flute 1978 – 1985 Bishop Luffa C of E School, Chichester 3 A’ Levels 1985 9 O’ Levels 1983 Teaching 2010 - Recorder at Wells Cathedral School 2002 - Recorder/Flute at City of London School for Girls 1995 - Recorder and Baroque Flute Examiner for GSMD, Birmingham and RCM 1994 – 2000 Head of Woodwind and Recorder at the ‘Centre For Young Musicians’, London Sample of Recorder Orchestral Experience The Monteverdi Choir & Orchestra J.E.Gardiner Oct 2011 Monteverdi Vespers Gabrieli Consort P. McCreesh Nov 2005 Monteverdi Vespers Orchestra of the Age of Enlightenment E.Haim Mar/Apr 2004 Charpentier “David et Jonathas City of London Sinfonia R. Hickox July 1995 Handel Saul The English Concert T. Pinnock June 1995 Handel Water Music (principal) Florilegium A.Lumsden July 1995 Purcell Ode on St Cecilia and Chaconny BBC The Sixteen H. Christophers Nov 1994 Purcell The Fairy Queen Symphony Orchestra R. Hickox Jan 1994 John Taverner Apocalypse and Ultimos Ritos New London Consort P.Pickett 1986 – 1994 Florentine Festival Music, Praetorius Dances of Terpsichore & Delights of Posilipo (BBC PROMS) Sample of Flute Orchestral Experience Le Concert Lorrain C. -
Digital-Booklet-The-Classic-Nursery
Featuring the voices of Isla St. Clair • Floella Benjamin • Martin Carthy • Shirley Collins • Valentine Dyall - Bev Sage John Du Prez & the Children of Britannia Row Animal impressions by Percy Edwards Philip Pickett – Recorders, Crumhorns, Raketts & Pipes Leon Rosselson – Guitar & Banjo • Sandra Kerr – Concertina John Du Prez – Piano, Harpsichord, Organ & Brass Principals of the Philharmonia Orchestra Recorded at Britannia Row Studios, London Recording Engineer - Nick Griffiths Mastered by Larry Mah Produced by John Du Prez Soundtrack derived from The Classic Nursery Rhymes Collection DVD Director : Mike Milburn-Foster • Music Director : John Du Prez • Producer : Dan Maddicott Originally produced by AB+C for Longman Group Ltd. 1982. Released by arrangement with Granada Ventures Ltd. All Rights Reserved www.oceanmusic.co.uk TRACK LISTING Chapter 4 Chapter 8 Chapter 11 Title Theme Title Theme Title Theme Chapter 1 The Grand Old Duke of York The House That Jack Built I Had A Little Nut Tree Title Theme Little Boy Blue There Was A Farmer Pussy Cat, Pussy Cat Hey Diddle Diddle Baa Baa Black Sheep Oranges and Lemons Humpty Dumpty Aiken Drum This Little Piggy London Bridge Mary Mary Quite Contrary H Jack and Jill To market, to Market London’s Burning Goosey Goosey Gander Chapter 5 Girls and Boys Come Out To Play Title Theme Chapter 9 Chapter 12 Ring A Ring O’ Roses Lucy Locket Title Theme Title Theme Wee Willie Winkie Pat-A-Cake The Twelve Days of Christmas Chapter 2 Georgie Porgie Little Jack Horner Title Theme Little Bo Beep Pease Porridge -
Decca Discography
DECCA DISCOGRAPHY >>4 GREAT BRITAIN: digital, 1979-2008 In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987. Philip Pickett’s New London Consort joined the Florilegium roster in 1985 and Argo’s new look brought in a variety of ensembles in the 1990s. But after an LPO Vaughan Williams cycle was aborted in 1997, Decca’s own UK recordings comprised little more than piano music and recital discs. Outside London, Argo recorded regularly in Cambridge and Oxford. Decca engaged the Welsh National Opera from 1980-96 and the Bournemouth Symphony from 1990-96, but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. >RV0 VENUES One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten (those in bold ) hosted thirty or more entries, whilst seventy were only visited once. LONDON AREA ABBEY ROAD STUDIOS , St.John’s Wood, London NW8 (1931), initially restricted to EMI labels, were opened to all from 1968. -
Medieval Music©[
Paul Halsall Listening to Medieval Music©[ Author: Paul Halsall Title: Listening to Medieval Music Date: 1999: last revised 01/18/2000] _______________________________________________________________ In the summer of 1999, I made a concerted effort to get a better grasp of medieval music -- better that is, than that acquired by listening to the odd recording here and there. In this document, I outline the general development of music in proto-Western and Western cultures from the time of the earliest information until the beginning of the tonal era, around 1600. Since I am not a musicologist, this outline derives from reading in secondary sources [see bibliography at the end], information supplied with the better CDs and some online sources. Appreciation of almost all serious music is improved by some effort to understand its history and development -- and indeed until very recently any educated person would have had some music education. In the case of Ancient and Medieval music, such effort is essential to enjoyment of the music, unless appreciation is to go no further that a certain "new age" mood setting. For each major period, I list suggested CDs [and occasionally other types of media] which document or attempt to represent the music. These CDs are not the only ones available to illustrate the musical history of Western civilization, but they are however, the ones I have available. [Those marked with * are additional titles that I have not been able to assess personally.] For a much greater selection of available CDs see The Early Music FAQ [http://www.medieval.org/emfaq/], which provides general overviews, and lists of the contents of the vast majority of recordings of early music.