The programs of the 2010 Lufthansa Baroque Music Festival (May) and the 19th Consort de Danse Baroque International Summer School (August) are out: have a look!
Philippa Waite’s weekend Baroque dance classes in London start properly this weekend, Saturdays in Barnes, Sundays in Camden. Also ongoing classes on Mondays and Tuesdays. If interested in receiving news about Philippa’s dance classes in London or other UK locations, you can subscribe to the Consort de Danse Baroque’s feed.
Yes, truly amazing it was. My first time to attend this international Summer school organized by Philippa Waite and the Consort de Danse Baroque, now in its 18th edition, that took place in Cardiff on August 21-31 (http://www.ukbaroquedance.com/summer/course.html). Divided in three 3-day modules, all of them open to all levels—from the complete beginner to the advanced and professional performer—it ended with a party open to the general public on the 10th day, which unfortunately I could not attend, where Baroque country and court dances (including Purcell’s beautiful Chaconne from The Fairy Queen that I so much enjoyed dancing at the school) were performed in period costume. Extremely well organized, very knowledgeable, welcoming and enthusiastic teaching staff, very friendly atmosphere, every student received personalized attention and the right training and amount of “challenge” for their level. I definitely look forward to next year’s edition and, in the meantime, to Philippa’s regular Baroque dance classes in London (http://www.ukbaroquedance.com/classes). She also teaches in other locations in the UK (as well as in the US and occasionally in other countries), and styles from the 12th to the early 20th century (which I haven’t tried but I would expect to be just as good). I strongly recommend her classes.
I’m still sticking to my practice schedule:
Now if only I could find a way to play more than one hour a day…
We were looking at the website of the Retrospect Ensemble (previously known as the King’s Consort) and noticed that their recordings are to be published by Linn Records, a Glasgow-based record label.
It looks like Linn publish some great artists as well as Retrospect, but what’s particularly exciting is that they offer much higher-quality downloadable music than any other label I’ve seen. If you’re like me, you’ve been resistant to buying downloadable music because of the low sound quality. It’s always stored in MP3 format, which is lower quality than CDs, so it makes more sense to buy CDs — and then if you want the convenience of keeping the music on a computer, you can copy them over using a CD-quality “lossless” format like FLAC.
Linn make this messing around with bits of plastic unnecessary. They offer not only MP3s, but (for a small premium) downloads of FLAC or lossless WMA recordings. But the icing on the cake is that for a bit more — quite a bit more, to be honest — they sell what they call “studio master” quality downloads (24 bit, 88kHz), which are even higher quality than normal CDs (about the same as SACD, maybe slightly higher).
We’ve bought Retrospect’s recording of Purcell’s Sonatas in IV parts in full Studio Master FLAC quality, and it’s gorgeous, worth every penny. So now the only thing limiting our record collection is our internet connection and our bank balance…
The 2009 London Lufthansa Festival of Baroque Music is about to start; it runs May 14-23, and the venues are St. John’s, Smith Square and Westminster Abbey. Information and booking here. We’ll definitely be attending some of the concerts!
Breathtaking Jordi Savall at the Wigmore Hall this evening. We (all - the entire hall) left speechless and with red hands from clapping so much. Full stop.
This is a “timed” post: if all goes well, it will automatically appear shortly after we get married.
I thought it would be nice to share the programme of music we’re using for our wedding — all Baroque, of course!
Arrival of the Bride
Bach: Cantata, BWV 207a, 1st Movement, March
A Welcome from the Registrar
Purcell: “Welcome to all the Pleasures”, Excerpt I
The Declaration; “I will”
Corelli: Opus 2, No. 12: Ciacona
“I take thee” – “You may kiss the Bride”
Handel: Violin Sonata in D Major, 2nd Movement, Allegro
Next comes the signing of the register, which will take between 5 and 10 minutes. Some of the following pieces will play during this time:
Couperin: “Les Baricades Misterieuses”
Lully: Passacaglia (from “Armide”)
Purcell: “Welcome to all the Pleasures”, Excerpt II
Vivaldi: Concerto in G Major, 1st Movement, Allegro
The Exit of the Bride and Groom
Corelli: Concerto Grosso, op. 6 No. 4
Sorry for the lack of posts recently! It’s because the two authors of this blog will be becoming Mr and Mrs Baroque Project this coming Saturday, and planning/organising the whole thing has sapped valuable blogging energy.
We have lots of ideas for posts, and should be back up and running late next week.
Powerful grid computing has revived a stringed musical instrument that was last played in ancient Greece, Italian researchers announced at a recent conference in Catania, Sicily.
Called an epigonion after the 6th century B.C. musician Epigonus of Ambracia, the instrument was somewhat similar to a modern harp.
The researchers’ website has a page with samples of various pieces of music played both on their computer models of the instrument and on reconstructions. It has a really beautiful sound.
(Thanks to @stuartweber, who twittered about the article, and to @baryla for finding the sample page!)
