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Recorder Thread!


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#3556 elemimele

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Posted 19 June 2019 - 06:10

This is most worrying, Zixi. I'd never heard of Diabelli and Carcassi, and Wikipedia tells me it's because neither was born until after the End of the Musical World (around 1750). But they're both quite decent composers and I rather like Diabelli, having listened to a couple of bits of YouTube. I may be forced to rethink the timing of the End.


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#3557 Zixi

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Posted 19 June 2019 - 06:49

I hope you don't mind that I bask in having introduced you to people you didn't know. smile.png I am always in awe of the breadth and depth of your musical knowledge.  Carcassi composed lots of little pieces designed as exercises for his guitar students. I love these pieces. They're very musically satisfying and at my level, they expect dexterity both in sight reading and fingering. I didn't know Diabelli at all but my husband recognised him at once and enthused.


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#3558 elemimele

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Posted 19 June 2019 - 10:46

oh, I am not so knowledgeable. I just use Wikipedia too much. No, I very much appreciate being introduced to someone new, and I also love listening to guitar, so it's a double win for me.


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#3559 Zixi

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Posted 20 June 2019 - 10:18

It's a lovely instrument. Do you play guitar at all? My husband does but I could never get on with it. My teacher tends to give me a few new pieces each week -  this week is Purcell and Leopold Mozart. But I'm doing some Latin as well and that is proving a challenge just now. I have to do something with it as I confidently told teacher that 'strong rhythms are easier'... And this is a new book I bought for just that reason. I've been unwell the last two lessons so haven't practised as much as I would like so I think the next lesson I should say that I worked very hard and not give feeble unwell excuses. rolleyes.gif


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#3560 Maizie

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Posted 23 June 2019 - 15:01

Just put my A=415 descant in the post (well-padded, tracked and insured!) to the Early Music Shop's Used Instrument Agency.  I hope it finds a nice home.  It spent all its time looking at me to make me feel guilty for never playing it, so I thought moving it on the right thing.

It has a new home!  Thanks to price increases, it sold secondhand for more than I paid for it new - not that I got quite that much after EMS took their cut, but very happy for it to have a new home and me to have some unexpected income :D


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#3561 elemimele

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Posted 25 June 2019 - 13:50

Recycling in every good sense. I'm glad it has a new happy home.

I've been listening to Jean-Pierre Rampal's recording of the Telemann flute fantasies. It's interesting and eye-opening from so many points of view.

It's interesting to hear the music played on a flute - and a modern flute, at that - instead of recorder. Flute ought to be better, being the instrument for which the pieces were composed, but I think the little dance movements sound better with the natural danciness and lightness of a recorder. It is easier for a recorder to play in this sort of style in a joined-up yet light manner. Flute, on the other hand, is much more powerful in the lower notes, which brings out something different in the sections where the music is simulating two parts.

It's interesting to hear the music played by someone who was a pioneer, rediscovering Baroque flute music. His technical skill is enormous, and his musical taste super-developed, but so many decades later, would we play the same way?

Mostly it's eye-opening just to see an interpretation by someone with so much to say. He plays the first one soooo fast, to such an extent that for a few seconds I felt wrong about it, but then realised it changes it from a technical exercise in arpeggios to something that flows like a happy, excited brook. He does wonderful things with repeats - and his phrasing brings life to the longer bits. Also, his phrasing is very recorder-friendly. Flute may take more air than recorder, but he can apparently play without breathing, which means his breathing-spots are doable by an amateur recorder person.

Now I want to find a good, modern recording on a Baroque flute, to see how much difference that makes...

Who cares what these fantasies were written for, they sound lovely on a recorder too, just so different. I suspect a Baroque flute version will be somewhere between Rampal and Recorder. The best music (nearly) always admits of multiple interpretations.


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#3562 Maizie

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Posted 25 June 2019 - 14:07

When we couldn't find recorder recordings, previous recorder teacher would always point me at Barthold Kuijken as an early music/early flute person. Might be a name to start searching with...

 
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#3563 andante_in_c

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Posted 25 June 2019 - 17:41

The baroque flautist I would recommend  is Rachel Brown. I haven't heard her recording of the Telemann Fantasias, but her Quantz recordings are superb.

 

I have a very interesting recording of the Telemann played by Robert short-for-Richard (Forum nannybot doesn't allow his name - for a while on here he was known as Robert He-who-shall-not-be-named ;)). He uses a variety of flutes including piccolo and bass flute, which gives a completely different feel to the pieces.

 

I tend to play the Fantasias on voice flute rather than the treble transposed version. Of course that means some of the harder ones on treble become easier on voice flute and vice versa - it all depends how easily the key falls under the fingers. I do hate the teeth-knocking-out ones with the top F#s in them (treble version).


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#3564 elemimele

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Posted Yesterday, 06:17

Thanks, loads, Maizie and Andante-in-C for the two-and-a-half-and-a-clue names (the nannybot is sometimes highly annoying). I've found a recording by Maizie's and will look for he-who-shall-not-be-mentioned.

I had got as far as noticing that there were some F#s so I'd decided to ignore those fantasies, and also the ones that start in large numbers of flats, because adding another three just got too confusing for me. What do you do when you play them on a voice-flute? I'd assumed the problem would still exist, but you'd be playing in the original key? As a matter of curiosity, did you learn to read the fingerings as "correct" notes, or do you do the read-it-as-bass-clef-add-three-flats-and-use-treble-fingering trick? Learning another fingering would be a bit of a pain, but it would make the umpteen flats ones a good bit easier.

The Barthold Kuijken version (I haven't listened through all of it yet) is beautiful, and I think much better than Jean-Pierre Rampal's (stunning though that is). It feels more "right". It is lighter, clearer with only carefully-deployed vibrato, and the dance-tune bits are dancy. These really are lovely pieces.


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#3565 Bagpuss

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Posted Yesterday, 07:17

Patrick Gallois recorded the fantasias when he was very young - just fresh out of the conservatoire I think. Modern flute but with the most amazing baroque sound. Exquisite. My own interpretation of these wonderful pieces on both flute and alto recorder were heavily influenced by him and, of course, my recorder teacher, Piers Adams. Piers taught me from day one to think out of the box and I hope one day I'll get the desire to start playing again. Off-piste a little, Gallois went on to record Mozart with a baroque twist - very creative stuff indeed.
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