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Voice memos from the dancefloor.
No full textWhile conducting fieldwork on musical audiences in London, I became interested in using field recording as a research method. Listening to my field recordings at home after a night out, I was often amazed at the small, forgotten moments that my iPhone had managed to capture: the mediation of sounds through the physical materials of a spatial environment; the jubilant collectivising energy that spreads across a room when a well-loved tune edges into audibility; the levels of shouting over the music and expressions of exasperation and disgust at the crowdedness of an event. It struck me that these kinds of audibility acted as a valuable way of knowing and understanding the texture of the urban social world and its musical and sonic environments. This piece explores these ideas through a field recording exchange with Freya Johnson Ross. The first three and a half minutes were originally included as part of a larger piece by Freya and I titled ‘I Mean They’re Not Actually Caverns’, presented at the Eavesdropping Symposium in London, 2018.
This audio recording is available open access at the 'Official URL' given below
An opera singer’s Gothic fiction: the autobiographies of Sims Reeves
Get PDFMale opera singers occupied a problematic place in nineteenth-century Britain, where music was often perceived as a feminized and foreign pursuit, and not a respectable profession. It therefore became imperative for British singers to find ways in which to assert their masculinity, their Britishness, and their respectability. The autobiography offered them an ideal opportunity. The British tenor Sims Reeves (1821–1900) left two memoires, the first of which is especially unusual. While some sections of the volume conform to a conventional autobiographical style, the majority of its chapters could more accurately be defined as gothic fiction, containing a number of sensational short stories that are mostly set in the world of music. These stories function as an attempt to negotiate their author’s problematic identity. While some offer a coded defense against contemporary accusations of greed and alcoholism, others present opera as a respectable profession
BBC Radio 3: Music Matters: Natasha Loges & Stephan Loges on 'Brahms and his Poets' book
No full textA new book on Brahms's relationship with his poets by Natasha Loges. Tom Service visits Natasha and her husband, bass-baritone, Stephan Loges at their home as they share their love of Brahms' lieder performing two of their favourite songs, and offer their discoveries about the composer and the poets he set to music
Fingering (1) keyboard instruments
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Arpeggiando; Arpeggio; Birnbaum, Johann Abraham; Brunold, Paul; Chambonnières, Jacques Champion, Sieur de; Denis, Jean
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows: Arpeggiando (p.27); Arpeggio (pp.27-28); Birnbaum, Johann Abraham (p.76); Brunold, Paul (p.100); Chambonnières, Jacques Champion, Sieur de (p.123); Denis, Jean (p.173).
Description of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Preface to vocal score: Jenö Hubay: The Luthier of Cremona (with German and French libretto)
No full textPreface to study score of Jenö Hubay's opera The Luthier of Cremona
Instrument collections (historical)
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
CD review: Franz Danzi, Music for Piano and Winds
Get PDFFounded in the spring of 2009, the British chamber group Ensemble f2 ‘play[s] music we love and want to do … on the instruments which seem to suit the repertoire best’. Since beginning their Discover Danzi project in 2013, to celebrate the 250th anniversary of the birth of Franz Danzi (1763–1826), Ensemble f2 has recorded two CDs of wind chamber music on period instruments.
The recordings were made at the world-famous Finchcocks Musical Museum in Kent, England, for the label established by keyboard player Steven Devine, who was the museum’s last assistant curator. Historical performance in the UK owes much to the insight of keyboard player and collector Richard Burnett and his wife Katrina. From the early 1970s until their retirement in 2015, the Burnetts amassed a collection of over 100 historic keyboard instruments at Finchcocks, their eighteenth-century Georgian manor house. Through concert-giving and recordings, Finchcocks was an important catalyst during the formative years of post-war historical performance in Britain. The Museum hosted many of the leading British exponents of historical performance, including Sue Addison, Alan Hacker, Christopher Hogwood, Colin Lawson, Trevor Pinnock, Stephen Preston, Lesley Schatzberger, Simon Standage and Jennifer Ward Clarke. Ensemble f2’s Danzi recordings, made at Finchcocks between April 2013 and June 2015, are a fitting tribute to its musical legacy
