HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.early
Subject: Vivaldi's Il Pastor Fido
From: "David Lasocki. Music Library. IUB" <LASOCKI@UCS.INDIANA.EDU>
Date: 19 Nov 1992 13:06:51 -0500 (EST)
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Dear Early Music Friends,
 
        Yes, "Vivaldi's" Il Pastor Fido is now known to have been
composed (and to a small extent arranged) by Nicolas Chedeville.
You can read all about it in Philippe Lescat's article "'Il
Pastor Fido,' une oeuvre de Nicolas Chedeville," Informazioni e
studi Vivaldiani 11 (1990): 5-10, and in Peter Ryom's preface,
"An Authentic Case of Falsification," for the new facsimile of Il
Pastor Fido published by C.D. Facsimiles, Le Vaud, Switzerland.
Lescat has promised to answer the obvious question of why he
attributed the collection to Vivaldi.
 
        No. 6 in G minor is no more or less "authentic" than the
rest of the set -- it was also composed/arranged by Chedeville.
I suppose that what our correspondent is alluding to is the fact
that it contains some material from Vivaldi's violin concerto in
G minor, Opus 4 No. 6, which happens to have a strong "Vivaldian"
profile.  It's a good sonata for the recorder, if perhaps a
little low in tessitura, so I see no reason why those who enjoy
it shouldn't keep on playing it!
 
        Yours,
 
        David Lasocki
        Head of Public Services
        Music Library
        Indiana University
        Bloomington, IN 47405
Newsgroups: rec.music.early
From: bgarfink@silver.ucs.indiana.edu (beth diane garfinkel)
Subject: Re: Fretwork
Organization: Indiana University
Date: Thu, 19 Nov 1992 17:50:56 GMT

In <EARLYM-L%92111903481531@AEARN.EDVZ.UNIVIE.AC.AT> DKWILSON@UCS.INDIANA.EDU writes:

>About the Early Music Institute at Indiana University:  Beth listed the faculty
>and somehow forgot to mention baroque violinist Stanley Ritchie, who also
>directs the IU Baroque Orchestra and coaches chamber music.  Last but hardly
>least!
> 

I apologize for the oversight. For all of you out there not connected
with Indiana University, I was thinking of the people who are
officially in the Early Music Institute.  Stanley Ritchie is on the
regular string faculty these days, so he slipped my mind.

By the way, I guess I will have to check e-mail addresses more carefully.  I
had thought that the post in question was just a private e-mail message.  Oops!

								Beth
-- 
"This must be Thursday.  I never could get the hang of Thursdays."
	-Arthur Dent, on being told that the Earth is about to blow up.
Newsgroups: rec.music.early
Subject: Fretwork
From: hcresnic@quads.uchicago.edu (hugh carney resnick)
Date: Sun, 15 Nov 1992 19:00:18 GMT
Reply-To: hcresnic@midway.uchicago.edu
Organization: University of Chicago Computing Organizations


	The viol consort Fretwork performed here on Friday night, and I just
want to remind all the viol players out there that your work is appreciated.
Yes, I know why the instruments of the viol family went down in popularity at
the end of the 17th century - people couldn't get enough of the violin. But
the sound of the viol (both solo and in consort) is probably the nearest and
most beautiful thing to a human voice as any instrument beside the horn.
	The audience had a wonderful time. it was a freezing cold night, but 
we all had a wonderful time.

hugh
-- 
___________________________________________________________________
	  Hugh C. Resnick (hcresnic@midway.uchicago.edu)
"Mother, please, is it just a disease?" - Moribund the Burgermeister
___________________________________________________________________
Newsgroups: rec.music.early
Subject: RE: Alessandro Stradella
From: "Paul J. Everett" <STMU8001@IRUCCVAX.UCC.IE>
Date: 18 Nov 1992 14:01:00 +0000 (GMT)
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A whole symposium of scholarly papers on Stradella and related subjects was
published some time ago -- early '80s, I think -- by the firm of Olschki of
Florence, in the series "Chigiana".
 
Paul Everett
stmu8001@iruccvax.ucc.ie
Newsgroups: rec.music.early
Subject: Re: lute (do it your self)
From: xarjp@levels.unisa.edu.au
Date: 18 Nov 92 17:45:14 +1030
Organization: University of South Australia

In article <BOGUSZ.92Nov12170235@albert1.fuw.edu.pl>, bogusz@fuw.edu.pl (Wojtek Bogusz) writes:
> 
>  I am dreaming about lute from year or so. And all of this discussion
etc etc
>  Wojtek Bogusz
> 

If you want to build your own (and you might get addicted), and you will
have to build a few (some people say as many as 50) before you get it
right, then beg, borrow or steal a copy of 

Ronald Zachary Taylor - "Make and Play a Lute"

ISBN 085242 813 8, published by Argus Books Ltd, Wolsey House, Wolsey Road,
Hemel Hempstead, Herts HP2 4SS, United Kingdom.

Good luck,
Rob Potter (still trying)

Newsgroups: rec.music.early
From: dennis@socs.uts.edu.au (Dennis Cook)
Subject: Re: Vivaldi, Telemann
Reply-To: dennis@socs.uts.EDU.AU
Organization: University of Technology, Sydney
Date: 16 Nov 92 01:28:27 GMT

STMU8001@IRUCCVAX.UCC.IE (Paul J. Everett) writes:

>I don't know of recordings of Vivaldi's _Il pastor fido_, but James and others
>might like to know that this collection is now known to be spurious.  The
>composer/arranger is Nicholas Chedeville.
> 

Sure is. However, the sixth sonata in G minor, seems to be
authentic, and certainly more interesting than the others
in the set. A number of people, such as Schott, publish it
seperately; look for it under "Recorder/Recorder + Keyboard".


regards,
--
| Dennis Cook                           "Never miss a chance to have sex or
| (dennis@socs.uts.EDU.AU)               appear on television." -Gore Vidal
Newsgroups: rec.music.early
Subject: RE: TANTRUM: Temperament Analysis Software for IBMPC
From: mwitten@HERMES.CHPC.UTEXAS.EDU
Date: 15 Nov 1992 16:13:16 -0600 (CST)
In-reply-to: <9211152131.AA11371@hermes.chpc.utexas.edu>; from "Stephen Malinows
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]
Comments: <Parser> W: FROM field duplicated. Last occurrence was retained.

Sorry EARLY-L accidentally hit the reply key. I was having`
a TANTRUM.
 
matthew
 
--
 
_____________________________________________________________________
 
Matthew Witten, Ph.D. MED
Director, Applications Research & Development
Associate Director,
UT System Center For High Performance Computing
Balcones Research Center, 1.154 CMS
10100 Burnet Road, Austin, TX 78758-4497 USA
 
Phone: (512) 471-2472  FAX: (512) 471-2445
 
E-MAIL  MWITTEN@CHPC.UTEXAS.EDU
      or
        MWITTEN@UTHERMES.BITNET
 
"some intellectuals make their living by creating
obscurities for the rest of us to puzzle over"
_____________________________________________________________________
Newsgroups: rec.music.early
Subject: RE: Vivaldi, Telemann
From: QUINN@GONZAGA.BITNET
Date: 19 Nov 1992 00:25:00 -0700 (PDT)
X-VMS-Cc: QUINN
Content-transfer-encoding: 7BIT

>Date: Mon, 16 Nov 1992 01:28:27 GMT
>From: Dennis Cook <dennis@SOCS.UTS.EDU.AU>
>Subject: RE: Vivaldi, Telemann
>
>STMU8001@IRUCCVAX.UCC.IE (Paul J. Everett) writes:
>
>>I don't know of recordings of Vivaldi's _Il pastor fido_, but James and others
>>might like to know that this collection is now known to be spurious.  The
>>composer/arranger is Nicholas Chedeville.
>
>
>Sure is. However, the sixth sonata in G minor, seems to be
>authentic, and certainly more interesting than the others
>in the set. A number of people, such as Schott, publish it
>seperately; look for it under "Recorder/Recorder + Keyboard".
 
Fascinating revelation.  I always loved the g min over the others -- the
set does seem wildly inconsistent.
 
Thanks for the dirty dope!
 
James Quinn
Newsgroups: rec.music.early
Subject: RE: There is no rose
From: Liane R Curtis <lcurtis@MAGNUS.ACS.OHIO-STATE.EDU>
Date: 19 Nov 1992 21:56:42 -0500 (EST)
In-reply-to: <9211192308.AA11810@quark.magnus.acs.ohio-state.edu>; from"Kim Plofker" at Nov 19, 92 4:02 pm
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

The carol "There is no rose" is included on "The Service of Venus and Mars:
Music for the Knights of the Garter, 1340-1440", performed by Gothic Voices, On
Hyperion, CDA 66238.  This was a Gramophone Award winner, 1988.  It is sung
with a wonderful 15th century English pronunciation, and performed straight, no
chaser.
 
 
Liane
lcurtis@magnus.acs.ohio-state.edu
Newsgroups: rec.music.early
Subject: The Lute of Pythagoras
From: xarjp@levels.unisa.edu.au
Date: 18 Nov 92 18:04:08 +1030
Organization: University of South Australia

In Sept 92 issue of Strad - Letters - David Woodrow protests a critique
of his book "The Shape of Stadivari Forms And Violins". He refers to
* the Lute of Pythagoras *, as described in a book by Pickering.

Anyone know the book referred to? If so can they email me the full
reference?
Thanks, hopefully
Rob Potter
From: rdf@pinet.aip.org (Robert Feinman)
Newsgroups: rec.music.early
Subject: Couperin Ordres wanted
Date: 19 Nov 92 21:28:14 GMT
Distribution: rec
Organization: pinet.aip.org

Does anyone know of a good edition of the Ordres
of F. Couperin besides Le Pupitre?

I would like to buy my son a set and the Le Pupitre
has gotten quite expensive lately. Also a good place
to buy it. Patelson in NY is not too good a baroque
harpsichord music.

Thanks...
-- 
Robert Feinman						rdf@pinet.aip.org
American Institute of Physics				rdf@aip.bitnet
From: de19@umail.umd.edu (Dana S Emery)
Newsgroups: rec.music.early
Subject: Re: Oiling recorders
Date: 19 Nov 92 05:30:33 GMT
Followup-To: rec.music.early
Organization: personal

In article <EARLYM-L%92111619201790@AEARN.EDVZ.UNIVIE.AC.AT>,
BARNES@HARTFORD.BITNET wrote:
> 
> I was told not to oil maple recorders, or at least not Moecks. They are
> sealed with wax under pressure and the oil does no good and may
> harm.

The point here is that some Moeck instruments are wax impregnated, and oil
hurts them.  Not all maple instruments are so sealed, when in doubt, read
the instructions.

Yes, the wax can indeed melt, when it does, it makes a mess of the inside
of the instrument, and is a pain to clean up.  A freind of mine made the
mistake of allowing his moeck cornamuse set to get too much sun (in a gun
case, back seat of a car), and they have been out of tune ever since.

--

Dana S Emery <de19@umail.umd.edu>
Newsgroups: rec.music.early
Subject: IU
From: E7M7GRI@TOWSONVX.BITNET
Date: 19 Nov 1992 19:25:02 -0500
MIME-version: 1.0
Content-transfer-encoding: 7BIT

So nice to hear about the early music program at Indiana.  I just received
the latest list of publications from Indiana Univ. Press - looks like some
very impressive books on early music.  Can anyone provide comments on a
couple of these: 1) Reed design for Early Woodwinds by David Hogan Smith; and
2) Medieval Instrumental Dances by Timothy J. McGee?
Thanks
Gene G.
Newsgroups: rec.music.early
Subject: RE: DMCS 2.5
From: Jeff Titon <JTITON@BROWNVM.BITNET>
Date: 22 Nov 1992 18:59:07 -0500 (EST)
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Dana Emery posted a very useful summary of the state of DMCS (Deluxe Music
Construction Set).  Agreeing with him (I too have used it for several years
and have largely abandoned it), let me add a couple of things and underline
a few others.
  Mr. Emery praised the DMCS interface.  I think it's a superb interface,
and it's better than most of the other programs', even those costing many
times more.  The commercial program with the interface closest to DMCS is
Encore.  I haven't had enough experience with this program to evaluate it,
though.
  Despite Electronic Arts' decison not to support DMCS (or, I suppose, its
sequencer relative, Deluxe Recorder), it is still possible to use them well
with System 4.2 through 6.0.7 for DMCS, and System 6.0.2 through 6.0.7 for
Deluxe Recorder.  Contrary to Mr. Emery's experience, I have had no trouble
running DMCS on 6.0.7.  And, of course, System 6 has a few good years left
in it before nothing supports it anymore.  One caveat: above 4.2 DMCS has
trouble playing back a piece of music in the proper rhythm, but that is not
a necessary attribute for me.
  What is happening with Mac music programs, it seems to me, is not very
different from what is happening with other categories of Mac programs.
Companies are willing to bring new programs on the market but unless they
get a large market share, they will drop them.  So, for example, NoteWriter
II, a superb music-engraving program, fell by the wayside.  I agree with Mr.
Emery that DMCS seemed to have a very good niche as a useful low-priced
music writing program, but evidently Electronic Arts felt that it was
awkward to have to combine two programs (DMCS and Deluxe Recorder) to have
the use of a sequencer.
  At this point one of my most important considerations is that the music I
transcribe won't be orphaned along with the software when it is no longer
supported.  I would welcome suggestions on how to insure against that
problem.
 
Best to all,
Jeff Titon
Newsgroups: rec.music.early
Subject: practice chanters
From: "Peter S. Bushnell" <PETBUSH@NERVM.BITNET>
Date: 19 Nov 1992 09:06:24 -0400 (EDT)
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Back in 1977 when I was in Edinburgh I bought a practice chanter with what appe
ared to be a rubber reed.  I have yet to get much of a sound out of it.
 
However, in 1982 while in Santiago de Compostela, Spain I bought a gaita (a one
 drone Spanish bagpipe) and did no problem getting a correct sound out of the c
hanter or the drone.  There were other problems to consider but not that of pro
ducing a sound.  Also, one does not use pressure from just blowing to get a sou
nd going out of the chanter.  You blow up the bag and then use pressure from sq
ueezing the bag to produce the sound.
 
Currently my early music activities involve playing recorder (I have a grad. de
gree in it), ren. flutes, krummhorns and shawms with some singing thrown in.
 
 
Peter S. Bushnell
Music and Latin America Monograph Cataloger
University of Florida Libraries
 
BITNET:           petbush@nervm
INTERNET:         petbush@nervm.nerdc.ufl.edu
From: jqdoumen@VUB.AC.BE (Doumen Jan)
Newsgroups: rec.music.early
Subject: Sorry, for the previous mail !
Date: 23 Nov 92 14:25:08 GMT
Article-I.D.: is1.9211231225.AA18497
Content-transfer-encoding: 7BIT
X-Mailer: ELM [version 2.3 PL11]

Sorry for my previous mail which was intended to go to one person
but by mistake I send it to the list.
 
I'm very sorry. Won't happen again. I promise !
 
DeJean.
 
 
--
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure         Internet : jqdoumen@vub.ac.be        |
| B - 1640 Sint-Genesius-Rode                     : jdoumen@nyx.cs.du.edu     |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/
From: ASMITH@UCS.INDIANA.EDU
Newsgroups: rec.music.early
Subject: RE: IU
Date: 20 Nov 92 17:12:17 GMT
Content-transfer-encoding: 7BIT

Re: the IU Press books: I have not read David Hogan Smith's book, but the
Timothy McGee book on Medieval "dance" pieces is well worth it. For one
thing, it's very convenient to have them all in one accessible source. I
also think that it would be a worthwhile acquisition for someone who is
very interested in this music and wants a good introduction, and either has
no access to facsimiles or doesn't feel quite ready to deal with them yet.
If you do have access to facsimiles it's also interesting to compare them
with published transcriptions.
 
It's also a great book to have on hand if you find yourself at a party with
a bunch of "early-instrument" players and a refrigerator full of beer.
 
 
regards,
 
        Angela Mariani
        IU Early Music Institute
        (home of merely semi-opinionated mezzo-sopranos]
 
"My God, you mean this music can be FUN????"
From: bgarfink@silver.ucs.indiana.edu (beth diane garfinkel)
Subject: Re: Fretwork
Organization: Indiana University
Date: Tue, 17 Nov 1992 00:46:25 GMT

In <1992Nov16.184751.20305@sharebase.com> ray@thyme.sharebase.com (Ray Gebbie) writes:

>Some questions I had: they spent a great amount of time adjusting the tuning,
>for obvious reasons (the instruments are fretted, for those who are not familiar
>with them).  Is there any way to adjust the intonation while playing, they way
>a violinist would?  Also, How can a fret that is placed it the same position
>for all the strings be very accurate? In other words, it would seem to me that
>there might be slight differences in the exact placement that would be ideal
>for the same fret for each of the strings.  Has anyone every made an instrument
>with the fret placement adjusted for each string, instead of straight across?

Well, viols actually have tied-on frets, so one can do this to a small
extent, but not too much.  In some cases, they even split the frets
slightly.

>I also noticed that some of the players used vibrato-like motions in their
>left hands.  Can vibrato really be done on a fretted instrument? I am not a
>string player, but a wind player, so I don't have much experience with string
>techniques.

Well, guitar players do this all the time, as do sitar and veena
players. . .did it SOUND like vibrato?

By the way, what did people think of the commissioned piece they
played, "Kineret Pulses" by Simon Bainbridge?  I didn't get to hear a
real performance of it, but they did hold an open rehearsal here at IU,
replete with composer.  Interesting piece, but it was a bit kmuch to
hear it played about four or five times, with starts and stops, over the
course of an hour. . .

							Beth
-- 
"This must be Thursday.  I never could get the hang of Thursdays."
	-Arthur Dent, on being told that the Earth is about to blow up.
From: QUINN@GONZAGA.BITNET
Newsgroups: rec.music.early
Subject: RE: Alessandro Stradella
Date: 18 Nov 92 17:08:00 GMT
Article-I.D.: GONZAGA.01GRBDRFUXQ80002TP
X-VMS-Cc: QUINN
Content-transfer-encoding: 7BIT

Following are a few dissertations on Stradella.  These should be available on
Interlibrary Loan from the schools where they were written.  I have included
the UMI order number if available from University Microfilms International.
The third item looks especially interesting.
 
BTW, in case you don't know it, this is a great way to get ahold of modern
editions relatively cheap.  Your library should have Dissertaion Abstracts or
Dissertation Abstracts Online -- a quick search by composer's name will
usually produce a gold mine.
 
For ordering info., call UMI at 1-800-521-3044
 
* * * * * * * * * * * * *
 
Bernstein, Harry Marvin
Alessandro Stradella's serenata, "Il Barcheggio" (Genoa, 1681):  a modern
edition and commentary with emphasis on the use of the cornetto and the
trumpet.
D.M.A., Stanford University, 1979
UMI order no: AAD80-02042
 
Chaikin, Kathleen Ann
The solo soprano cantatas of Alessandro Stradella.
Ph.D., Stanford University, 1975
UMI order no: AAD76-05703
 
McCrickard, Eleanor Fowler
Alessandro Stradella's instrumental music: a critical edition with
historical and analytical commentary. Volume I: Historical and analytical
commentary. Volume II: An edition of the instrumental works.
Ph.D., University of North Carolina at Chapel Hill, 1971
UMI order no: AAD72-10749
 
Daniels, David Wilder
Alessandro Stradella's oratorio 'San Giovanni Battista': a modern edition
and commentary. (Volume I: commentary. Volume II: score.)
Ph.D., University of Iowa, 1963
UMI order no: AAD64-03359
 
Gingery, Gail Alvah
Solo cantatas of Alessandro Stradella in Manuscript 32 E-11 of the Fitzwilliam
Museum
Ph.D., Boston University Graduate School, 1966
(Not available from UMI)
 
Jander, Owen Hughes
The works of Alessandro Stradella related to the cantata and the opera
Ph.D., Harvard University, 1962
(Not available from UMI)
 
* * * * * * * * * * * * *
 
Have fun!
 
James Quinn
Quinn@Gonzaga.edu
Newsgroups: rec.music.early
From: sbloch@silver.cs.umanitoba.ca (Stephen Bloch)
Subject: Re: practice chanter
Organization: Computer Science Dept., University of Manitoba, Winnipeg, Canada
Distribution: rec
Date: Wed, 18 Nov 1992 00:48:01 GMT

paisley@asc.slb.com (Gary Paisley) writes:
> When I blow it I get a fundamental tone which is only 
> just barely modulated by fingering on the holes in the lower section 
> of the instrument. In fact, the modulation is missing for most of the
> notes. I expected a much , much stronger response to the 
> fingering action.
> 
> I am reasonably proficient on the recorder, penny whistle and
> flute, but this is my first attempt at a double reed instrument.

This sounds a lot like my first experience with a practice chanter.  If
you haven't blown one before, it's quite easy to get the wrong harmonic,
and that harmonic (for whatever obscure acoustical reason) is scarcely
tunable at all.  Off the top of my head I don't remember whether I was
blowing too hard or too softly or attacking too mushily, but it was one
of those.

You're in for some more surprises, too.  A number of the notes on a
practice chanter can be "bent" up or down by as much as a half step with
air pressure, but one note is "right" -- and it isn't necessarily the one
you're expecting to hear!  On the bagpipe, all C's and F's are sharped,
and they're not notated as such because it's not a chromatic instrument.
(Why mark the note as sharp if playing it natural isn't an option?)
Eighth notes in the printed music may be swung or not, without indication.
In addition, if you have absolute pitch or are playing with another
instrument, you'll notice that the bagpipe is typically a half-step above
concert pitch.  I only figured out all this stuff by listening to the
cassette I got with my chanter.

Incidentally, it's not out of the question that I'm wrong on some of the
above; I too am really a recorder player, and my only training on the
bagpipe (or the chanter) is a five-hour group class I took a year and a
half ago.  I welcome correction from people who know what they're talking
about!
From: jamesc@bassclar.Eng.Sun.COM (James Langdell)
Newsgroups: rec.music.early
Subject: Early keyboard dance magazine
Date: 16 Nov 1992 18:50:21 GMT
Organization: Sun Microsystems
Distribution: world
Reply-To: jamesc@bassclar.Eng.Sun.COM
NNTP-Posting-Host: bassclar


Does anyone have information about a magazine devoted to
keyboard music for early dance?

A recent "New Yorker" contained a short item about the dance
collection at the library at Lincoln Center.  In a paragraph
rattling off the sort of items that were there the author
mentioned a flyer announcing such a journal.  Does anyone
know more about it?  I tried phoning the library in New York,
but keep getting a busy signal during their operating hours.

--James Langdell      jamesc@eng.sun.com
  Sun Microsystems    Mountain View, Calif.
From: 910394f@ace.acadiau.ca (JAMES LEON FALCONE)
Newsgroups: rec.music.early
Subject: Alessandro Stradella
Date: 17 Nov 92 17:15:30 GMT
Organization: Acadia University

Has anyone seen any books specifically on this guy?
Newsgroups: rec.music.early
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Re: Couperin Ordres wanted
Organization: Massachusetts Institute of Technology
Distribution: rec
Date: Mon, 23 Nov 1992 20:55:42 GMT

Dover has an inexpensive reprint of an older edition that is certainly
satisfactory for the amateur player. It's also a good one to get if you are more
serious, and can get to a library with either the Le Pupitre or the new
Oiseau-Lyre (Gilbert & Moroney) edition for comparison and corrections.
Patelson's is usually very good with the Dover stuff. Also, Dover itself is good
about direct orders.
Newsgroups: rec.music.early