Best of the ‘Viols in Our Schools’ GambaCast – CEMC – Barbara Strozzi (1619-1677) – 3 Songs
Best of the ‘Viols in Our Schools’ GambaCast – CEMC – Bartoloméo da Selma y Salaverde (c.1580-c.1638) – Fantasia IX
Best of the Viols in Our Schools GambaCast – CEMC – Alessandro Grandi (1586-1630) – In lectulo meo
Best of the Viols in Our Schools GambaCast – CEMC – Claudio Monteverdi (1567-1643) – Quel sguardo sdegnosetto
Best of the ‘Viols in Our Schools’ GambaCast – Captaine Tobias Hume (1569 – 1645) – Tobacco, No.3
Captaine Tobias Hume (1569 – 1645) – Tobacco, No.3 the First Part of Ayres or the Musicall Humours (1605)
Filmed February 6, 2009 in Duesenberg Recital Hall, Valparaiso University Center for the Arts, Valparaiso University, Valparaiso, IN. For more information on music on Valparaiso University, visit http://www.valpo.edu/music.
To subscribe to the ‘Viols in Our Schools’ GambaCast, visit http://www.thegambacast.org/ and for more information on Viols in Our Schools & Doctor Phillip W. Serna, please visit http://www.violsinourschools.org/. For feedback, please email info@thegambacast.org. Please submit a review in the iTunes store athttp://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=279089596. Visit the online store to support future outreach activities at http://www.cafepress.com/violadagamba.
‘Viols in Our Schools’ Mission – Viols in Our Schools is organized by Dr. Phillip W. Serna of the Spirit of Gambo a Chicago Consort of Viols and is supported by the Viola da Gamba Society Third Coast as well as a pilot program of the Viola da Gamba Society of America. In 2008, Viols in Our Schools is pleased to announce a new video podcast the GambaCast as well as a new partnership with the Music Institute of Chicago. Based in the Chicago area, Dr. Serna works to bring the early western string instrument family known as the viola da gamba into many area schools demonstrating solo literature from the Renaissance, Baroque and early Classical periods for treble viol, tenor viol, bass viol & violone. Please help us make viols accessible to both young and old. Viols in Our Schools Copyright © 2008/ 2009 Dr. Phillip W. Serna. For more information, visit http://www.thegambacast.org/ & http://www.violsinourschools.org/.
new early music episode from ArsAntiguaPresents.com
The early music podcast ArsAntiguaPresents.com just released a new episode. This excellent monthly program (I help out on the tech side with this show) features period performances from a variety of instrumental combinations. Quite cool–check it out below:
click to listen (right-click and choose “save link as…” to download)
click to subscribe to ArsAntiguaPresents.com
(photo from the ArsAntiguaPresents.com concert archives)
Show Notes:
Our program (11 minutes and 21 seconds) features a program of “Bawdy Songs and Fythel Tunes” including “Hit her on the Bum” by Robert Bremner (1713-1789) and “Watkins Ale”, an anonymous work from an English Broadside.
Robert Bremner was a Scottish violinist and composer who wrote sonatas and variations based on popular tunes of this day. Watkin’s Ale comes from an old English broadside, which was sort of a newspaper in its day. It is a cautionary tale for young women with a moral at the end.
This performance by Ars Antigua directed by Jerry Fuller, features Nancy Bristol, soprano.
17th century music and 21st century technology
This is a guest post from double bassist and early music specialist Jerry Fuller. Learn more about Jerry and his early music podcast at ArsAntiguaPresents.com.
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I had a fascinating day. I performed Biber’s Mensa Sonora composed in 1680 with Chicago’s period instrument orchestra, The Baroque Band, and we recorded this music written 328 years ago with the 21st century technology of Jim Ginsburg’s Cedille Records.
It was interesting to play this music in a manner, and with instruments, that Biber might recognize and record it with a dizzying array of microphones and computers that Biber probably couldn’t have imagined.
Why shouldn’t we just use modern instruments outfitted with string technology based on the latest synthetic materials research?
I think the answer lies in the important distinction between aesthetics and functionality. I believe music has its most profound affect when performed on instruments and using the techniques from the period when the music was composed. I also believe it makes sense to use technolgy that has the functionality to most faithfully record those sounds.
It is important that we don’t confuse these two concepts: aesthetics and functionality.
You can learn more about both the aesthetics of performing Early Music during a workshop on July 12-13, as well as learn about the latest breakthroughs in Recording Technology in a workshop to be held July 26-31. Both workshops are designed for students 12-20 years old and will be conducted by Midwest Young Artists. For more information see mya.org/summer. I hope to see you there!
How do you like your Handel?
This is a guest post from early music specialist and Ars Antigua director Jerry Fuller.
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I’m really looking forward to this coming week. I will be performing concerts with Chicago’s Baroque Band that will use period instruments on June 4, 5 and 11. During the same week I will be playing with an orchestra using modern instruments for Chicago Opera Theater’s new production of Handel’s opera “Orlando” on June 3, 6, and 8. It will be interesting to perform back to back concerts using modern instruments for one and period instruments for the other to see what the musical impact is in each situation. I invite you to attend a performance of each and let me know if you prefer the use of modern instruments or period instruments and why.
In the meantime check out the free music downloads available at ArsAntiguaPresents.com. This month we are featuring Elizabethan Delites and in June you will hear music of the Scottish Baroque.
Early Music Interview Series Part IX – Thomas Schiegnitz
The following is a guest post from Double Bass Blog contributor Phillip W. Serna. Check out Phillip’s recitals and interviews on his Contrabass Conversations page, and visit him online at http://www.phillipwserna.com/. Enjoy!
Contrabass Conversations and the Double Bass Blog are continues is series on early bass performers. It will highlight many different perspectives on early bass/ violone performance. Our next guest is luthier Thomas Schiegnitz. We hope that you will enjoy these interviews and glean a good deal of information from our esteemed guests.
About Thomas Schiegnitz:
Thomas Schiegnitz is an instrument builder and restorer at the Musical Instruments Museaum Berlin. Thomas Schiegnitz trained at the Geigenbauschule in Mittenwald (1978-1981), worked in violin building in Germany and abroad and has been a restorator with the Musikinstrumenten-Museum Berlin since 1992. He is a builder and restorer of period instruments including cellos, double basses & Viennese Basses.
You can visit Thomas Schiegnitz’s website at http://www.geigenbau-schiegnitz.de/.
Viennese bass, Johann Josef Stadlmann, Vienna, about 1750
When and how did you become interested in early music, and how has it shaped your life musically?
In about 1980 ( being ca.24 years while studying at the “Geigenbauschule” in Mittenwald) looking for a facsimile for a Boccerini-Quintett at the Munich Bibliothek, which we played then, still on modern instruments, but impressed by the praxis of baroque-music performance by dutch groups ( Koopman, Kuijken family etc.)
Perspectives on Early Bass Performance – Early Music Interview Series Part VIII – Richard Myron
The following is a guest post from Double Bass Blog contributor Phillip W. Serna. Check out Phillip’s recitals and interviews on his Contrabass Conversations page, and visit him online at http://www.phillipwserna.com/. Enjoy!
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Our next guest in our early music interview series is Richard Myron. We hope that you will enjoy these interviews and glean a good deal of information from our esteemed guests.
About Richard Myron:
Richard Myron is an immensely experienced period bassist who has worked with a number of prominent American groups such as Concert Royal, the Brewer Ensemble, the Smithsonian Players and Orchestra, the Connecticut Early Music Festival, and many other small ensembles. In Europe, Richard has performed with la Petite Bande, Anima Aeterna, Les Arts Florissants, Concerto Vocale, the Ensemble Mosaïques, Al Ayre Espanol, Hesperion XX. Richard Myron was a founding member of the Freiburger Barockorchester and Il Seminario Musicale and has also worked with l’Arpeggiata and Les Basses Réunies, a group consisting of only bass instruments.
When and how did you become interested in early music, and how has it shaped your life musically?
My interest in early music goes back to my studies in New York at Juilliard—Albert Fuller gave a course in historic interpretation, and I was fortunate enough to understand his message.
In addition to violone, what other instruments (period instruments or otherwise) have you studied or played? Have these informed your approach to period bass/ violone performance?
Well, I play double bass(3, 4 or 5 string) and violone(6 string). I can also play a little(self taught) viol; Funny enough, I started on the Fender bass—I still love to play it!
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