BOURREE II , a slightly longer version of the preceeding one, per baroquelute 's criticism.

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


Wood-paneled Millbank Chapel is an acoustic paradise.

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

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.

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

~~~~~~

This jackass is James Webster
Goldwin Smith Professor of Music
Ph.D., Princeton University
jcw4@cornell.edu
104 Lincoln Hall, 255-3611

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/.

http://www.songoftherose.co.uk/ A real Mensch.

Some new torban music at
http://www.torban.org/torban4c.html

Friday rehearsal, warts and all.......

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.

As Andrei Platonov once wrote:
   - If you compare the living and the dead- the living are shit.

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!"

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

just left with Fedex to its new permanent home at the Marian Institute at UDayton.....

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).

A recent exchange with busidoremikle on Forumklassika has prompted me to finally reload 80 missing soundfiles on the Sarmaticae page.

S.L.Weiss- Vol.9- Robert Barto is released.

This makes 3: http://polyhymnion.org/lit/fishbeyn/when.html & http://polyhymnion.org/lit/fishbeyn/index.html

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

Moscow based composer Michael Puchkov aka busidoremikle  has written a cycle of pieces for lute, highly commendable: http://www.box.net/shared/58i8lxkn44!

«Ich will keinen Krieg gegen das Hässliche führen. Ich will nicht anklagen,
ich will nicht einmal die Ankläger anklagen. Wegsehen sei meine einzige
Verneinung!»

Hans Kockelmans aka  azefclef has included
a piece by "S" in the Carillon  program at the
 
,
in Damme, Flanders.

> 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?

> 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

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

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

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!