Wednesday, February 26, 2014

7-9 MARCH; AMERSFOORT, NL: SVN Spelen en zingen door West-Europa - "Playing and singing western Europe"

By Stichting Volksmuziek Nederland

Vrijdag 7 t/m 9 Maart 2014 (english below) *

Voor instrumentalisten en zangers

Dit weekend is een samenvoeging van de weekends Lage Landen en Internationaal Samenspel. Als tegenhanger van het weekend Venster op het Oosten in het najaar gaan we dit weekend ons bezig houden met muziek uit West Europa. Voor elke windstreek is er een workshop en ook aan onze eigen streek is gedacht, muziek uit de Lage Landen.

Voor de zangworkshop maken we zo’n beetje een reis door alle windstreken. Het plezier in samen spelen en zingen staat in dit weekend voorop en is niet zozeer bedoeld om je vaardigheid te verbeteren maar om kennis te nemen van de verschillende aspecten van de muziek uit de verschillende windstreken. Daarom is het belangrijk dat je thuis bent op je instrument en voor de zangers geldt enige zangervaring. Het belooft een gezellig maar ook leerzaam weekend te worden. Ik verwacht veel belangstelling voor dit weekend. Het is daarom raadzaam ook een tweede keus op te geven.

Tot ziens in maart,
Arnold. (Penningmeester SVN)

• Muziek uit de Lage Landen, docent René Meeuws
• Muziek uit het Noorden (Scandinavië), docente Els Doekes
• Muziek uit het Zuiden (met o.a. Baskische- en Sefardische muziek), docent Michiel Ockeloen
• Muziek uit het Westen (Britse eilanden), docent Erik de Jong
• Zingen door West-Europa, docent Jules Bart

Voor informatie en inschrijving:

* Friday 7 t / 9 March 2014

For instrumentalists and singers

This weekend is a combination of weekends Low Countries and International Teamwork . As a counterpart of the weekend Window on the East in the autumn we are going this weekend and come up with music from Western Europe . For every wind , there is a workshop and also to our own region is thought music from the Low Countries .

For the singing workshop we pretty much make a journey through all corners . The fun in playing and singing together is paramount in this weekend and is not meant to improve your skills, but to take note of the different aspects of music from different corners of the world knowledge. Therefore it is important that you are at home on your instrument and the singers applies only singing experience . It promises to be a fun and educational experience to weekend . I expect a lot of interest for this weekend . It is therefore recommended that a second choice to give up.

See you in March ,
Arnold . ( Treasurer SVN )

• Music from the Low Countries , Professor René Meeuws **
• Music from the North ( Scandinavia) , teacher Els Doekes
• Music from the South (with Basque and Sephardic music) , Professor Michael Ockeloen
• Music from the West ( British Isles ) , Professor Erik de Jong
• Singing by Western Europe , Professor Jules Bart

For information and registration:

Stichting Volksmuziek Nederland

** Professor René Meeuws - instruction for hurdy gurdy / draailier

12 APRIL; Sint Michielsgestel, NL: Workshop with Thomas Hoste

Workshops draailier, doedelzak, accordeon, zang, samenspel...bij Stichting Draailier En Doedelzak *
(11) - 12 & 13 april 2014
Nog slechts enkele plaatsen beschikbaar. Spelers van alle niveaus zijn welkom.

* Workshops hurdy-gurdy, bagpipes, accordion, vocals, teamwork ... at Foundation Hurdy-gurdy and bagpipe
(11) - 12 & April 13, 2014
Only a few places available. Players of all levels are welcome.

Workshop draailier/hurdy-gurdy/vielle à roue/drehleier by Thomas Hoste

Black Sails - Hurdy Gurdy | Bear McCreary blog

If you’ve been reading my Black Sails blogs, you’ve heard a lot about the hurdy gurdy.  So what, exactly, is this weird instrument and how does it work? Check out my fourth Black Sails video blog and get to know the most important instrument in the score:
I never imagined that the hurdy gurdy would become an essential sound for any score, and I had fun exploring the various sounds the instrument can create. There were drawbacks, however, to relying so heavily on the hurdy gurdy. The instrument is finicky, cranky and sensitive to atmosphere and temperature changes. Los Angeles fell under a heat wave while I was scoring “IV.” and my poor instrument, which had been designed and built in the cold reaches of Northern Europe, had never been exposed to such conditions. The wood swelled in the heat and none of the keys would budge!
I called up my local hurdy gurdy specialist, an instrument-builder named Curtis Berak. Curtis did not actually build my instrument (it was made by a builder named Leif Eriksson), but Curtis has helped maintain it over the years, showing me vital techniques for keeping it in shape before the rigorous Black Sails sessions. As misfortune would have it, however, Curtis was in Paris all month! It’s not like I have multiple hurdy gurdies laying around, and scoring this episode without the instrument was not an option. I was screwed.
Time, and Hollywood deadlines, stop for no man, so I couldn’t exactly call up production and ask them to delay an episode of the show. Luckily, Curtis’ back-up technician, Scott Gayman, was only a few hours away and was able to swing in and save the day. This is why I love living in Los Angeles. In what other city in the world could this happen? When your hurdy gurdy repair specialist is out of town, there’s ANOTHER one ready to help out. Thanks to Curtis recommending Scott, my hurdy gurdy was back up and running within twenty-four hours. The airing of “IV.” is proof I still made my deadline.
MODERATE SPOILERS AHEAD: The fourth episode of Black Sails is a pivotal point in the narrative. Before setting out after L’Urca De Lima, Flint and his crew must bring the Walrus onto the beach to clean it. This is a seafaring practice that I’d never seen put up on the screen before and was a lot of fun to score. The audience suspects that this situation isn’t going to end well, a notion reinforced by the various cuts to close-ups of the ropes bending as the palm trees sway in the wind.
I scored these scenes with a Japanese transverse flute called a bansuri. I asked performer Chris Bleth to blow across the hole as gently as possible, just enough to make the slightest sound. The result is music that feels like a sound effect, a gentle gust of wind. However, unlike sound design, the notes created are pitched and so I could control how they clashed against the harmonies in the rest of the score and dial up the tension as the episode progresses.
In “IV.” I develop several important character themes. In the episode’s opening scene, the relationship between Flint and Barlow is clarified as we see them making love. I scored this scene with a delicate cloud of pitches from the string quartet and hurdy gurdy drone, while having a dulcimer with soft mallets softly ring out the Barlow Theme:
Later in the episode, Barlow is practicing the clavichord once more, playing the Purcell Chaconne in G Minor:
Guthrie approaches her, recognizing the music. His simple line of dialog was researched by music historian Adam Gilbert, who consulted the screenwriters in the way in which a man of Guthrie’s background and education would refer to a piece of music like this.
Guthrie remarks on a portrait in her house that reveals some of her background. This entire scene is scored with variations of the Barlow Theme. String quartet chords, a hurdy gurdy drone and subtle electric bass are layered against ethereal metallic percussion played with fingertips to provide minimal rhythm. A solo viola carries the Barlow Theme melody.
You can hear the performers stretching their boundaries. I encouraged everyone to take extra liberties when bending between pitches. The quartet slides between chords while the solo viola slithers in and out of tune. This cue marks the first time I pushed the performances so far and we discovered a method of making even a slow, emotional cue feel gritty and salty. These first four episodes were a gradual process of discovery and this cue, I feel, is where the haunting emotional long tones really clicked. For some reason that now eludes me, this track didn’t make the cut for the album, a decision I somewhat regret now. Perhaps I can release it at some future point.
The Flint Theme makes an appearance in “IV.” as well, although not in a scene where one would expect it.  After those ropes inevitably break, the ship careens back, trapping poor Randall beneath it. Desperate measures are enacted in order to save him. As Flint carries him to safety, a solo pennywhistle offers a high, distant version of the Flint Theme:
Obviously the moment isn’t about Flint directly, but it is an important emotional moment for the crew, having both saved and lost one of their own. The theme represents Flint’s desire to build a nation for him and his men, so it seemed appropriate that it can also represent the bond between crew members. Taking the Flint Theme away from the distinct South American quena and playing it in this pennywhistle distances the theme from the previous, more Flint-centric, statements. (This moment can be heard on the soundtrack album at the top of Track 17, “Funeral At Sea.”)
The most important musical development in “IV.” is the introduction of the final primary character theme, the Vane Theme:
Vane is at his lowest point at the start of “IV.” He has lost his ship, his crew and drifts in an opium haze. He sees visions of Eleanor and also a mysterious man who beckons him out of his tent and back to the streets. For these moments, the Vane Theme is played by a haunting solo hurdy gurdy. (Check out the Vane Theme on the soundtrack album in Track 16, “Vane’s Visions.”)
My approach for writing a theme for Vane was the same as for Flint. Both these guys are so macho and badass already – to make their musical themes heavy and manly would only provide redundant information. I waited until their moments of vulnerability to introduce their music, because these are the moments that reveal something essential about their characters. Like the Flint Theme, the Vane Theme is beautiful and lilting. The scratchy tones of the hurdy gurdy give it edge, but at heart, it’s a lyrical melody set against moving harmonies – not the obvious approach for a character like Vane, but one that will provide a useful theme to develop in later episodes.
At the conclusion of the episode, Flint learns he has been double-crossed by Captain Bryson who has taken the heavy guns he will need to capture the L’Urca. Chugging strings from the trio, a driving groove from the string quartet and frantic rhythm from the bodhrán and bones bring the promise of a battle to come.

Black Sails - Hurdy Gurdy | Bear McCreary – Official site

The #HurdyGurdy Weekly :|: #HGWeekly :|:

28 Luglio – 2 Agosto, PERUGIA, ITALIA: V Corso Internazionale di Musica Medievale – La musica polifonica alla Corte Aragonese di Napoli

(English Below)
La musica polifonica alla Corte Aragonese di Napoli (sec. XV)
28 Luglio – 2 Agosto 2014
Durante il Quattrocento la Corte Aragonese di Napoli vantava la principale cappella musicale d’Europa, per numero e qualità dei suoi musicisti, più importante persino di quella di Borgogna. Vi furono attivi compositori come Cornago e Vincenet, mentre Tinctoris scrisse a Napoli tutta la sua opera teorica e, a corte, fiorivano tutti i generi musicali europei (ballatestrambotti e barzellette italiane;canciones spagnole; rondeaux e danze francesi).
Il 5° Corso Internazionale esplorerà le sonorità e le atmosfere peculiari di ciascuno dei generi musicali, e la contaminazione degli stili esecutivi, sia colti che popolari, per ricostruire la fedele immagine sonora della Napoli Aragonese.
Canto solista: Patrizia Bovi
Strumenti ad arco: Gabriele Russo
Strumenti a fiato: Goffredo Degli Esposti
Canto corale: Simone Sorini
Liuto: Crawford Young
Arpa: Leah Stuttard
Alta Cappella: Ian Harrison
Ghironda: Giordano Ceccotti
Percussioni: Gabriele Miracle
Danza: Natalie Braker

Il calendario completo, comprensivo delle materie teoriche complementari, le conferenze e i concerti verrà pubblicato prossimamente
Costi allo studente:
Corso di canto/strumento: 380€
Corso di percussioni: 240€
Danza: 240€
Solo materie teoriche complementari: 180€
Costi per ensemble (minimo 3 membri):
Corso di canto/strumento: 320€
Corso di percussioni: 200€
Danza: 200€
Solo materie teoriche complementari: 160€
Termine iscrizioni: 1 Luglio 2014

+39 334 79 31 560 (Peppe Frana)

V International Medieval Music Course
28 July – 2 August 2014
Poliphonic music in the 15th century Aragonese Naples Court.
Based on the quality and number of its musicians, the 15th century Aragonese court in Naples boasted the premiere musical ‘capella’ in Europe, even more important than that of the court of Burgundy. The composers Cornago and Vincenet worked there, while Tinctoris formulated all his theoretical works in Naples. At the court, all types of music known in Europe flourished: ballate, strambotti and barzellette from Italy; canciones from Spain, rondeaux and dances from France.
At the 5th International Course, we will explore the sonority and particular atmosphere of each of these genres and the fertile exchanges between formal and popular music that characterized Aragonese Naples.
Solo singing: Patrizia Bovi
Bowed instruments: Gabriele Russo
Wind instruments: Goffredo Degli Esposti
Choral singing: Simone Sorini
Lute: Crawford Young
Harp: Leah Stuttard
Alta Cappella: Ian Harrison
Hurdy Gurdy: Giordano Ceccotti
Percussions: Gabriele Miracle
Dance: Natalie Braker

The full schedule, comprehensive of complementary theoretical courses, lectures and concerts, will be published soon.
Student fee:
Singing/Instrument course: 380€
Percussions course: 240€
Dance course: 240€
Theoretical courses only: 180€
Ensemble fee (minimum 3 members):
Singing/Instrument course: 320€
Percussions course: 200€
Dance course: 200€
Theoretical courses only: 160€
Deadline for inscriptions: 1 July 2014
+39 334 79 31 560 (Peppe Frana)

Il Centro Studi Europeo di Musica Medievale “Adolfo Broegg”organizza corsi di formazione, seminari, master, convegni sulla musica medievale, rinascimentale con lo scopo di creare collegamento nel campo delle attività didattiche, di ricerca, di interpretazione tra il territorio umbro e le università italiane, straniere, i centri di studi di musica antica internazionali.
via Fonte del Mastro II
06038 Spello, Perugia, Italia
+39 348 87 22 313

V Corso Internazionale di Musica Medievale – La musica polifonica alla Corte Aragonese di Napoli – 28/07 02/08 2014 | Centro Studi Europeo di Musica Medievale "Adolfo Broegg"

The #HurdyGurdy Weekly :|: #HGWeekly :|:

11 new videos from Arnaud LACHAMBRE this week

11 new videos from Arnaud LACHAMBRE this week: *
"Branle Pinagay;"
"Les Quatre Branles;"
"Branle de la Haye;"
"Branle des Sabots;"
"Branle des Chevaux;"

"Branle d'Ecosse;"
"Ce fu en mai (Moniot d'Arras);"
"Les Quatre Branles (Tielman SUSATO)"
"Branle des Pois;"
and "Branle des Lavandières"

* NOTE: 2 of these later deleted - BUT -
-- are now re-uploaded (appear later in the playlist)

all added to the Weekly's playlist "Hurdy Gurdy 1" - ("begin here"):

Arnaud LACHAMBRE YouTube channel -

the Weekly's playlist "Hurdy Gurdy 1" -

the Weekly's YouTube channel: 
The Hurdy Gurdy Weekly • #HGWeekly - YouTube

The #HurdyGurdy Weekly :|: #HGWeekly :|:

Sunday, February 16, 2014

Día do aniversario | é unha zanfona de "modelo Redux" está nova, funciona mui ben iestá á venda. (1800€)

Día do aniversario. - YouTube

via Oscar Fernandez

Published on Feb 16, 2014
Coa inspiración que enviastes o pasado 14 de febreiro a traves do FB polo meu aniversario compuxen esta pequena música, en agradecemento, a vós está adicado.

Por certo esta é unha zanfona de "modelo Redux" está nova, funciona mui ben iestá á venda. (1800€)

- With inspiration enviastes on 14 February THROUGH FB for my birthday this little music composed in gratitude, is dedicated to you.
Indeed this is a folding "model Redux" is new, works well mui IEST sale. (€ 1,800)

Stages vielle à roue | Les stages 2014

Les stages 2014 – « la Manivelle joyeuse » *

30 mars 2014 – Ecole de musique de Cenon – Gironde
- 5 & 6 avril 2014 -
 « le Gamounet » – St Bonnet près Riom – Puy de Dome
- 24 au 27 aout 2014 – la Rochebeaucourt en Périgord – Dordogne
- 4 & 5 octobre 2014 – Pinsot – Isère


- 5 & 6 avril 2014 - « le Gamounet » – St Bonnet près Riom – Puy de Dome

les inscriptions sont ouvertes

avec Pascal Lefeuvre – Philippe Mousnier

« petite académie rurale et de printemps »… Prémices d’un été chaud…
Au Coeur de la montagne en Auvergne, terre de volcans et de vielle à roue !
Le Gamounet nous accueille – pour tout savoir sur le Gamounet : cliquez ici
le stage de vielle à roue Printemps 2014 est destiné : Aux  viellistes, vielleux, vielleurs, et autres girovilliestes, à la sortie de l’hibernation… A ceux, celles des stages précédents, désirant poursuivre l’aventure,  sans oublier les nouvelles vocations ou  les curieux du quartier, des alentours, désirant découvrir ou approfondir l’accord classique en do, les modes, les rythmes etc… et les entrailles profondes de la Vielle à roue.
Un stage de printemps, dans un cadre bucolique, au coeur de la montagne en Auvergne
Mention spéciale – le « compte rendu » du stage 2013 complet par Christian Hongrois Texte complet vielle Mayet

STAGE de vielle ETE 2013
- 24 au 27 Aout 2014 – la Rochebeaucourt en Périgord – Dordogne  – 

les inscriptions sont ouvertes

avec Pascal Lefeuvre – Philippe Mousnier

Le stage d’été, dans un cadre champêtre, rural , typique Périgord blanc : « La Grande Métairie » à La Rochebeaucourt en Périgord – Une ancienne ferme rénovée depuis 1995 gérée par une association dont le but est de promouvoir et de développer diverses activités culturelles et de loisirs (stages, spectacles…) dans un esprit d’ouverture et de convivialité.
Nous y associerons les joies de l’étude instrumentale aux plaisirs du jeu en groupe. Il sera animé par Pascal Lefeuvre et par Philippe Mousnier luthier qui réglera vos instruments…

Stages vielle à roue

The #HurdyGurdy Weekly :|: #HGWeekly :|: