masaccio
16 May 2008 @ 09:56 am
Robert Frost  
 
 
masaccio
16 May 2008 @ 09:27 am
Regalini  
 
 
 
masaccio
08 May 2008 @ 03:54 pm
May 9th- Border Ballads: Concert @ Ukrainian Museum NYC  
The Center for Traditional Music and Dance,
&
The Ukrainian Museum and New York Bandura Ensemble/Bandura Downtown
present
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
Border Ballads from the Steppes:
Mapping Ukraine in Song
with Julian Kytasty (voice),
Roman Turovsky (baroque lute)
Ilya Tëmkin (lira)
Friday, May 9, 2008, 7:00 pm
The Ukrainian Museum
222 East 6th Street, New York, NY
(between 2nd and 3rd Aves)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Center for Traditional Music and Dance and its Ukrainian Wave Community
Cultural
Initiative in collaboration with The Ukrainian Museum and New York Bandura
Ensemble/Bandura
Downtown present Border Ballads from the Steppes: Mapping Ukraine in Song,
the first
of two concerts in conjunction with an exhibit of historical maps of Ukraine
opening
at the Museum this spring.
 
The evening's program features traditional Ukrainian ballads researched and
performed
by the Ukrainian-American bandura virtuoso and singer Julian Kytasty,
accompanied by Roman Turovsky on baroque lute.
 
Drawn from the same historical period as the Museum's "Mapping of Ukraine"
exhibition, the
songs and instrumental music bring to life the dance of shifting borders -
political,
cultural, and personal - that characterizes Ukraine's early modern period.
The Mapping
of Ukraine: European Cartography and Maps of Early Modern Ukraine, 1550-1799
is
a major exhibition of antiquarian maps opening at the Museum on April 20th
and remaining
on view until October 5. Curated by University of Saskatchewan International
Relations
scholar Bohdan Kordan, the exhibition features 42 original maps published by
European
mapmakers over a 250-year period.
 
A second Bandura Downtown concert of historical ballads related to "The
Mapping
of Ukraine" will take place at the Museum in September.
 
Tickets $15 with discounts available for Museum and CTMD members and
seniors.
 
To reserve tickets contact the Museum at 212-228-0110.
Tickets include gallery admission and a reception to follow the concert.
 
Image: UKRANIA QUAE ET TERRA COSACCORUM CUM VICINIS WALACHIAE, MOLDAVIAE,
MINORIS
TARTARIAE PROVINCIIS
(UKRAINE AND THE LAND OF THE COSSACKS WITH THE NEIGHBORING PROVINCES OF
WALLACHIA,
MOLDAVIA, AND TATARY MINOR)
Johann Baptist Homann/Homann's Heirs, Nuremberg, 1729
 
 
 

 
 
 
masaccio
07 May 2008 @ 10:59 am
Sautscheck als Frölicher Mann IV  
BOUREE IV, sans the cliché turn.
 
 
masaccio
05 May 2008 @ 06:02 pm
Sautscheck als Frölicher Mann II  
BOURREE II , a slightly longer version of the preceeding one, per [info]baroquelute 's criticism.
 
 
masaccio
05 May 2008 @ 12:57 pm
Sautscheck als Frölicher Mann  
BOURREE...
 
 
masaccio
04 May 2008 @ 09:52 am
Yesterday at Columbia....  

Julian Kytasty and Hetman Masaccio participated in the Mariana Sadovska concert at Columbia University.


Wood-paneled Millbank Chapel is an acoustic paradise.
 
 
Current Mood: accomplished
Current Music: stefan-voevoda
 
 
masaccio
02 May 2008 @ 05:56 pm
Sarmatismo riconosciuto e premiato....  
sono lietissimo ad informarvi che 2 miei brani sarmatici variati sono stati registrati
dal bravissimo Angelo Barricelli per un progetto artistico audiovisuale-
http://www.maltimediahouse.tv/pages/FromBorderlands.htm
 
 
masaccio
30 April 2008 @ 10:56 pm
 

RTS

Eine Sehr Kleine Lemkische Hochzeitnachtмusik

C-dur

für Torban
.

 
 
masaccio
28 April 2008 @ 10:13 am
For guitarists  

My good friend- composer Paulo Galvão -
http://www.polyhymnion.org/adc/paulo.html

 
 
masaccio
24 April 2008 @ 10:09 pm
Sautschecks Kunstgedanken  
It was said of C.P.E.Bach, but the dictum's significance is universal: Art is not ravings of a maniac. Art is controlled effusions of a cultivated Genius.
 
 
masaccio
24 April 2008 @ 06:59 pm
HAYDN FORGERIES, a nether orifice's opinion  
As we say back in the Old Country: "Як би мені той розум на тепер, що в жидової жінки на потім...", і.е - Hindsight is 20/20.....................................


http://query.nytimes.com/gst/fullpage.html?res=9903EFDD173BF93AA15756C0A962958260

To the Editor:

Michael Beckerman'scomments on the Haydn sonata forgeries [ "All Right, So Maybe HaydnDidn't Write Them. So What?" May 15 ] are ill informed.

Hisclaim that "not a single musician or scholar is willing to say for surewhether, on the basis of the score alone, these pieces are by Haydn" isfalse. In 1993, scholars at the Joseph Haydn Institute in Cologne(which publishes the complete edition of Haydn's music) undertook athorough investigation. Their conclusion that the works are modernforgeries was clearly stated in their press release of Dec. 14: "Theworks exhibit a host of technical faults, as well as inconsistencies inthematic construction and large-scale form . . . that arise fromcompositional insufficiency."

In my opinion, the sonatas arenot only badly composed but thoroughly un-Haydnesque. I do not believeHaydn could have written them. Indeed, as far as I know all the Haydnscholars who have seen the music agree -- all, that is, except H. C.Robbins Landon and Paul and Eva Badura-Skoda (the only ones Dr.Beckerman cites).

However, in numerous earlier cases both Mr.Landon and Dr. Eva Badura-Skoda have uncritically accepted dubiousworks as genuine Haydn. It is not "understandable," as Dr. Beckermanclaims, that they should have "jumped the gun by assuming that thepieces were authentic before they had time to examine the manuscript."On the contrary, this was irresponsible scholarly behavior, whichcannot be excused by the supposed musical qualities of the forgeries.

Dr.Beckerman also refers to the works as "first-rate forgeries." Hisbizarre conclusion, that "one can love fake Haydn sonatas, maybe evenmore than the real ones," follows the confession that "one can bedeeply moved by the compositions of one's children." Indeed one can,but only a fool would suppose that they bear comparison to Haydn's.

Throughoutthe Western esthetic tradition, authorship has been -- and remains -- aprimary component of the reception of artworks. The fact that theseforgeries will soon disappear, far from "throwing our notions ofesthetics into a tizzy," amply confirms them. JAMES WEBSTER Ithaca, N.Y.



~~~~~~

This jackass is James Webster
Goldwin Smith Professor of Music
Ph.D., Princeton University
jcw4@cornell.edu
104 Lincoln Hall, 255-3611
 
 
masaccio
24 April 2008 @ 05:30 pm
Giazzotto  
 
 
masaccio
24 April 2008 @ 12:41 pm
Mariana Sadovska in NYC  
The Center for Traditional Music and Dance,
in collaboration with
the Music and Music Education Department
of Columbia Teachers College
presents
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ukrainian Women's Voices:
Mariana Sadowska & Friends
An Evening of Ukrainian Village-Style Singing
with co-host Julian Kytasty and
the New York Bandura Ensemble
SATURDAY, MAY 3, 2008, 7-9 pm
Milbank Chapel, Columbia Teachers College
West 120th Street at Broadway, Manhattan
FREE ADMISSION
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

An acclaimed singer, actress, composer, and folksong collector, Mariana Sadowska
is visiting the U.S. this year from Ukraine as a Fulbright scholar at Pennsylvania
State University. Sadowska has gathered a group of New-York-area Ukrainian and American
women to sing with her this evening in the traditional village singing style and
Ukrainian folk polyphony.
Ukrainian-American singer and bandura (zither-lute) player Julian Kytasty co-hosts
the program, which features performances by the musicians of the New York Bandura
Ensemble and other special guests. Singers trained by Sadowska will perform from
the audience as well as the stage, encouraging all to join in the singing.


Admission is free and open to the public. Children are welcome.
Ukrainian Women's Voices with Mariana Sadowska and Friends is presented by Ukrainian
Wave, a Community Cultural Initiative of the Center for Traditional Music and Dance,
in partnership with Columbia Teachers College Music and Music Education Department
and the New York Bandura Ensemble. For more information see CTMD's website www.ctmd.org,
or call Eileen Condon at 212-571-1555
ext. 35.

Support for the Ukrainian Wave Community Cultural Initiative was provided to the
Center for Traditional Music and Dance by the National Endowment for the Arts Heritage
and Preservation Program; the New York State Music Fund, established by the New
York State Attorney General at the Rockefeller Philanthropy Advisors; and American
Express Company. Additional support was provided by public funds from the New York
State Council on the Arts, a State agency; the New York City Department of Cultural
Affairs; and Con Edison.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Founded in 1968, the Center for Traditional Music and Dance, one of the nation's premier
traditional arts organizations, is dedicated to maintaining the vibrancy of the performing
arts traditions of New York's ethnic and immigrant communities through grassroots community
organizing, research-based educational programming, and public performances. To find out
what's going on in New York's traditional music and dance scene, sign up for our free
eNewsletter at http://www.ctmd.org/.
 
 
masaccio
24 April 2008 @ 10:44 am
Rob MacKillop  
http://www.songoftherose.co.uk/ A real Mensch.
 
 
masaccio
23 April 2008 @ 10:13 pm
 
Some new torban music at
http://www.torban.org/torban4c.html
 
 
masaccio
19 April 2008 @ 09:41 pm
Sautscheck als Akkompanist....  
Friday rehearsal, warts and all.......
 
 
masaccio
16 April 2008 @ 07:04 pm
From [info]boom235  
 
 
masaccio
16 April 2008 @ 09:53 am
3 Angels  
 
***
There came along, oh, the angels three,
who spied a soul, 'twas a sinner's soul.
 
Oh Soul, you are gone past the Eden's gate:
Oh Soul, sinner's Soul, what is your guilt?
 
Is it greed-avarice? Or some foolishness?
Is it murder or, is it blasphemy?
 
By the Eden's gates stands a holy Tree,
Stands a holy Tree, of red copper made.
 
On that Tree birds sit, birds of Paradise,
and the voices they have are the Seraphim's.
 
And the voices they have are the Seraphim's.
and the songs they sing are the Cherubim's:
 
"Oh, in our Paradise life is full of joy,
 Life is full of joy, but there is no one...."
 
 
 
 
***
Ой, шли-пройшли та три янголи,
ой задивили душу грішную.
 
Ой, щож ти, душa, мимо раю пройшла?
Ой, чим ти душа провинилася?

Чи за скупощі? Чи за глупощі?
Чи душу погубив? Чи в*янець порушив?
 
Біля райських воріт стоїть Дерево,
Стоїть Дерево, купоросовоє.
 
А на тому древу птиці райськиї.
Голосочки у них серафімськиї.
 
Голосочки у них серафімськиї,
Поють пісні вони херувімськиї.
 
Ой у нашому раю жити весело,
Жити весело- та нема кому.....
 
***
 
 
Current Location: `studio
Current Mood: serene
Current Music: 3 Angels
 
 
masaccio
16 April 2008 @ 08:06 am
Simple Stories  
 
 
masaccio
14 April 2008 @ 10:18 am
Едуард Драч  
"Ой, лежить кобзар в далекій стороні.........."
 
 
Current Location: studio
 
 
masaccio
13 April 2008 @ 10:09 pm
Tarquinio Merula  
 
 
masaccio
13 April 2008 @ 05:11 pm
Sautscheckerei International  
http://en.wikipedia.org/wiki/Astrild

Astrild
Astrild (from Old Norse: "Love-fire") is an old Nordic name for Amor or Cupid. Astrild probably originated in the writings of the 17th century Swedish poet Georg Stiernhielm, and has since been used in Nordic poetry, mainly during the Baroque and Rococo eras. Astrild does not appear in Norse mythology; even though the name was used before Stiernhielm as a synonym for the estrildid finches.
 
 
masaccio
12 April 2008 @ 11:20 am
Corsica > Pulifunie  
 
 
Current Location: studio
Current Mood: calm
Current Music: Domine
 
 
masaccio
11 April 2008 @ 07:50 pm
"Арт"-выставка РЕКЛАМА НАРКОТИКОВ "художника" Григория Ющенко  
As Andrei Platonov once wrote:
   - If you compare the living and the dead- the living are shit.
Tags:
 
 
masaccio
11 April 2008 @ 08:53 am
Da un amico istriano  
Masaccio: Continuo a mettere in rete le sanguinose ballate ucraine sei- o settecentesche adattate per liuto barocco:
http://torban.org/pisni/ghomin.html
==
http://torban.org/pisni


Paolo: Pezzi molto belli, Masaccio.
Purtroppo li ho potuti sentire
solo ieri sera (la stazione qui
è in rete e ha qualche problema);

il commento a casa? "Belli questi
pezzi, non i tuoi soliti!" Crying or Very sad

Masaccio: Cioe' viol dire che sono stati piaciuti piu'che Dowland? Shocked Shocked Shocked Ma dai.....




Paolo: Assolutamente si! Lei ama
molto il jazz, il rock, la
musica cantata, ma quando
metto su Liuto rinascimentale
lei dici che la stanca un pò
con tutto quel plin-plin...

(talora non le dò nemmeno
torto)

Le tue musiche ucraine invece
le son piaciute.

Masaccio: É successo 2 volte colle mogli dei liutisti, se ci credi. Pare che sia il miglior premio immaginabile.
 
 
Current Location: studio
 
 
masaccio
11 April 2008 @ 08:37 am
Delian Honors  
http://www.deliansociety.org/r_turovsky_sautscheck.html
 
 
Current Location: studio
Current Mood: cynical
Current Music: Sautscheck's Ghomin Po Dibrovi
 
 
masaccio
07 April 2008 @ 05:42 pm
 
just left with Fedex to its new permanent home at the Marian Institute at UDayton.....
 
 
masaccio
07 April 2008 @ 03:16 pm
 
I have just posted a baroque lute adaptation of one great Ukrainian
historical ballad from the late 17th century with an English translation of
the text for your perusal and delectation:
http://torban.org/pisni/ghomin.html

Some of you may be already familiar with its renaissance lute version, here
played by Ed Durbrow as Ruthenica XXXVI
(http://www.torban.org/ruthenicae/audio/ruthenica36.mp3).
 
 
masaccio
07 April 2008 @ 10:42 am
Poetry  
 
 
masaccio
07 April 2008 @ 09:43 am
Revisitatio Cantiones Sarmaticae  
A recent exchange with [info]busidoremikle on Forumklassika has prompted me to finally reload 80 missing soundfiles on the Sarmaticae page.
 
 
masaccio
07 April 2008 @ 09:21 am
Important  
S.L.Weiss- Vol.9- Robert Barto is released.
 
 
masaccio
06 April 2008 @ 12:17 pm
Lavoro scenografico  
1 image )
 
 
 
masaccio
04 April 2008 @ 09:56 pm
Fishbeyn  
Recently I had the honor to translate a new poem by Moysey Fishbeyn on the day he composed it:
http://polyhymnion.org/lit/fishbeyn/thunders.html
 
 
masaccio
04 April 2008 @ 08:02 pm
J.S.Bach  
 
 
masaccio
30 March 2008 @ 11:56 am
 
Moscow based composer Michael Puchkov aka [info]busidoremikle  has written a cycle of pieces for lute, highly commendable: http://www.box.net/shared/58i8lxkn44!
 
 
masaccio
29 March 2008 @ 06:56 pm
Nietzsche  
«Ich will keinen Krieg gegen das Hässliche führen. Ich will nicht anklagen,
ich will nicht einmal die Ankläger anklagen. Wegsehen sei meine einzige
Verneinung!
»
 
 
masaccio
28 March 2008 @ 02:31 pm
Sautscheck als Carilloner  

Hans Kockelmans aka  [info]azefclef has included
a piece by "S" in the Carillon  program at the
 
,
in Damme, Flanders.
 
 
masaccio
28 March 2008 @ 10:35 am
 

Die Laute

Ich bin die Laute. Willst du meinen Leib
beschreiben, seine schön gewölbten Streifen:
sprich so, als sprächest du von einer reifen
gewölbten Feige. Übertreib

das Dunkel, das du in mir siehst. Es war
Tullias Dunkelheit. In ihrer Scham
war nicht so viel, und ihr erhelltes Haar
war wie ein heller Saal. Zuweilen nahm

sie etwas Klang von meiner Oberfläche
in ihr Gesicht und sang zu mir.
Dann spannte ich mich gegen ihre Schwäche,
und endlich war mein Inneres in ihr.


Rainer Maria Rilke, Herbst 1907, Paris

 
 
masaccio
28 March 2008 @ 09:57 am
Everyone MUST watch this.....  
http://www.liveleak.com/view?i=7d9_1206624103
 
 
 
masaccio
22 March 2008 @ 06:23 pm
A letter from a perspicacious man:  
> It's an interesting style that you seem to be inventing.
> I remember a previous piece you sent where I commented that the style is > almost like a composer of the late 18th century in the Ukraine trying his > hand at writing something based on his hearing or seeing western European > classical music, and then trying his hand at it. But then the end result > is this sort of hybrid style between the leftover medieval/folk influences > of his homeland combined with the new music he's heard or been exposed > to...
> Does that seem sorta what you had in mind, or is it just me??? :-)
> If that is sort of what's going on its a very unique way to think!
>
> GC
> p.s. are there non variation movements surrounding this one yet?
 
 
masaccio
21 March 2008 @ 11:18 am
Re: [delian] Re: Why Does New Baroque Music "Work"? - III  
> Hi, Roman, Delians.
> Yes, I think we inevitably interpret/contextualize stylistic
> traditions in terms of our own background, experience, understanding,
> and taste. It's only when we try to trash the memories of who we are
> and where we come from that we forfeit our individuality.
> > Memory is a great creative resource, but of course, it can land us in
> trouble if we become idolators of the past and become mired in
> aesthetic dogma. ;-)
> Joe
Or even assumed background, experience, etc. This is called Literary Transvestism, a long and legitimate tradition in literature.
RT
 
 
masaccio
21 March 2008 @ 11:07 am
Re: [delian] Re: Why Does New Baroque Music "Work"? - II  
From: "Joseph":
>Curiously enough, Couperin claimed to have written the earliest French
>sonata, which he passed off as the work of an unknown Italian
>composer. The French master was wise enough to promote "les goûts
>réunis"--fusing elements of both the Italian and French styles he
>inherited from his predecessors.
>Imitation (mimesis) isn't the production of photocopies. It's an
>ancient artistic principle that lies at the very heart of classicism,

I rather like the word DISSIMULATION, apropos.
RT
 
 
masaccio
21 March 2008 @ 11:01 am
[delian] Re: Why Does New Baroque Music "Work"?  
One way the dilemma can be dealt with is by bringing a chili pepper into the
dish, i.e. an unorthodox element, which in my case has been a certain
ethnocentrism. This has some minimal baroque and classical precedent, for example the
Polish-style works of Telemann, or Czech of Krumpholz, but really this is one direction Baroque
music didn't take, but COULD and SHOULD HAVE in my opinion. Thus I took it
upon my lowly self to take it where it erroneously never went before.
RT

***

> From: "Joseph"
> The fact is, if you write good period music, it can "pass" and will be
> appreciated until you tell people it's new music. Then suddenly it
> becomes dull, derivative, and dead-on-arrival. This attitude has been
> rightly characterized by composer Easley Blackwood as "intellectual
> dishonesty," and is quintessentially modernist in origin. Anyone with
> even a even a modest knowledge of history realizes the arts have
> always been profoundly influenced by traditions stretching back, in
> some cases, for thousands of years--unless ties to those traditions
> were weakened or severed, as was certainly the case with music.
>
> I think music competitions are a lot of rot to begin with, but the
> Aliénor International Harpsichord Composition Competition (Salem
> College, NC) perfectly illustrates what I've described as a
> "paradoxical system of music education that imparts tradition with the
> right hand and snatches it back with the left."
>
> Notice how in the official announcement (quoted below) they want
> something inspired by Couperin's work that doesn't sound baroque!
> Duh? Is this supposed to mean the composer-competitor can require
> "period" fingerings, touch, and performance techniques, but must
> suppress Couperin's baroque ornamentation and other obvious references
> to the master's style?
> This is about as silly as saying, "Design me a chair inspired by Louis
> XV sources, but forget about the scrolls and curves, the gilding, the
> elaborate silks and brocades, the chinoiserie, etc. and just make me
> something conspicuously modern that's machine-producible in plastic
> and stainless steel with hard angles, ergonomic arms, legs, and back,
> and a seat wide enough to plant my fat trendy arse on."
> It's impossible to take these people seriously. Their requirements
> are a recipe for creative logjam, and the inevitable result is an art
> of evasion that ignores, distorts, or otherwise dishonors the very
> traditions they're ostensibly trying to honor--all for a lousy few
> hundred bucks in prize money!
> Here's the text from their web site:
> "Art of Writing for the Harpsichord-extending the possibilities" Three
> or more preludes, with a total duration of 6-10 minutes, using "L'art
> de toucher le clavecin" by François Couperin as an inspiration. These
> pieces should be suitable for non-professional amateurs or students,
> written in a contemporary style-not in a Baroque imitation.
> Harpsichord range should be no more than F-1 to F-5. Required
> registration should not include 16 foot registers or pedals. The
> ultimate goal is to create a collection of accessible pieces suitable
> for publication, and usable by harpsichord enthusiasts worldwide.--- > http://www.harpsichord-now.org/call_for_scores.html
> I think listeners would probably get more out of "three or more" Qualudes!
> All the best,
> Joe

***

>> Grant C. wrote:
>> For one thing I think there's a difference between convincing
>> the "audience" at a baroque concert, and convincing other
>> professional musicians in the field. I think the average listener
>> might find the whole period composition thing interesting, but it
>> seems that often times its the performers who may have a more
>> difficult time with it. See for example the Alienor composition
>> competition for example:
>> http://www.harpsichord-now.org/call_for_scores.html
>> Devoted to promoting new compositions for harpsichord, yet
>> specifically putting in their guidlines that the pieces should NOT
>> be "in baroque imitiation." (like somehow there are just hundreds of
>> such composers waiting to jump into this competition that Delian and
>> Vox know nothing about.)
>> The other thing interesting about the Bancalari phenomenon is that it
>> was set up so that the audience didn't KNOW they were hearing a new
>> work by a living composer, they just sat back and accepted what they
>> were told. It was only after the piece was "accepted" that the secret
>> was let out.
>> But still the bottom line is that the conductor was the guy who had
>> the inspiration and the vision to perform the work and for that he is
>> to be commended. It was he who found the Vox site and heard Roberto's
>> overture and realized it was good enough to deserve to be played by a
>> real chamber orchestra.
>> That in itself is still a great achievement...
>> All the semi-decent,
>> Grant

***
"Joseph" wrote:
>> > This is great news! Sophisticated urban audiences obviously respond
>> > well to music in period styles, just as readers continue to enjoy
>> > historical novels and theatre-goers still flock to plays and films set
>> > in the past.
>> > Perhaps this phenomenon isn't so surprising when we consider that the
>> > very core of our identity and individuality as composers resides in
>> > memory. Strip a person of his/her past and what do you have left but
>> > a disoriented vegetative state?
>> > The rediscovery of tonality has enabled composers to "find" themselves
>> > anew after decades of institutional suppression, distortion, or
>> > obfuscation of cultural memory.
>> > All the best,
>> > Joe

***
"Grant" wrote:
>> > > Here's a better link about Roberto Jose Bancalari's Overture in G >> > > being
>> > > performed by the San Diego Chamber Orchestra
>> > > http://www.sdco.org/11_26_07.html
>> > > All I can say is "SWEEET!"
>> > > Grant
 
 
masaccio
21 March 2008 @ 10:55 am
Musica Triumphans I.  
Сан Диегский Камерный Оркестр включил в программу необарочную композицию современного композитора Роберта Банкалари: http://www.sdco.org/11_26_07.html.
San Diego Chamber Orchestra includes in its program a neoBaroque composition by Robert Bancalari! 
 
 
masaccio
21 March 2008 @ 07:35 am
Telemann  
 
 
masaccio
20 March 2008 @ 03:51 pm
Buona Pasqua a Tutti!!!  
1 image )