divagreen wrote:Does this one count?

[youtube]http://www.youtube.com/watch?v=bRwaVanPTDE[/youtube]

[youtube]http://www.youtube.com/watch?v=p3sAg3t6pjE[/youtube]

BrandySpears wrote:Transcriptions - the taboo of the purists....

"one who compared horowitz' and Lipatti's perfofmance of this piece would be as senseless as one who tried to show that sky is more beautiful than sea or vice versa"

THWOTH wrote:

BrandySpears wrote:Transcriptions - the taboo of the purists....

Heretic! Burn her, burn her!!

Actually the "I call to you Mr Jesus!" is pretty good isn't it? I love what it says at the top of the Youtube comments for that:

"one who compared horowitz' and Lipatti's perfofmance of this piece would be as senseless as one who tried to show that sky is more beautiful than sea or vice versa"

THWOTH wrote:
Renowned British tenor Robert Tear died yesterday. Here he is with Julian Bream singing Thomas Morley's I Saw My Lady Weep on Japanese TV in 1998.

Performed on original instruments by San Francisco Early Music Ensemble Voices of Music. Featuring Katherine Kyme, Carla Moore & Cynthia Freivogel, baroque violin; Tanya Tomkins, baroque cello, Hanneke van Proosdij, baroque organ; David Tayler, theorbo.

About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time.

No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century.

The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound.

The large bass lute, or theorbo, provides a complement to the organ not only in the texture of the chords but also the long strings which occasionally sound the bass notes an octave lower. The continuo players play supporting chords and voices to the canon, carefully avoiding parallels and doublings of the parts.

Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the "Voices of Music."

Many comments refer to the pitch. D Major is a key, not a pitch; this piece is in D Major at A=415.3 Hz. Using a strobe, you can measure the frequency of the first violin note, which is 555 Hz in this temperament. Using simple math, you can then derive the A frequency of 415, which in this case is roughly equivalent to the Pythagorean primes of 3/4: 415÷555≈0.75 We chose a baroque pitch and temperament from the time of Pachelbel.

[http://www.youtube.com/watch?v=JvNQLJ1_HQ0]

THWOTH wrote:...and yet the tenor sax is the king of instruments!

[youtube]http://www.youtube.com/watch?v=FlYdLfn_FKs[/youtube]
13 views

Sorry. Please report me for trolling...

Blip wrote:I love this

THWOTH wrote:I agree BS. :nod:

Now, please forgive me, but I have to confess that I can't stand Beethoven orchestral work. For the most part they seem like taking a club to the dominant cadence and hitting it again and again and again. Oh, I know he has his moments - but for me they are few and far between when it comes to his larger, 'Oo look at me, I'm Ludo and I'm being so daring mien Liebling' works.

[snip]

THWOTH wrote:Here, let me atone with Dutch contralto Aafje Heynis doing GFH justice...

Possessing a unique male soprano voice, Maniaci is noted for his unusual ability to sing into the upper soprano register without using falsetto. Most men who possess this ability have it as a result of a hormonal imbalance, but for some unknown reason, Maniaci's larynx did not develop causing his voice to not "break" in the usual manner.