64 Results for : spelt
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Whole Grain Cookbook
Whole Grain Cookbook - Wheat Barley Oats Rye Amaranth Spelt Corn Millet Quinoa and More: ab 23.49 €- Shop: ebook.de
- Price: 23.49 EUR excl. shipping
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Swell Burst & Dye
John Danyel published his only book of songs (cunningly entitled Songs) in 1606. He entered Royal service in 1612, where he worked hand in hand with his brother - the poet Samuel Danyel. Many of John Danyel's lute songs were composed to texts written by his brother, although the authorship of certain poems is unclear. Upon Samuel's death, John published The Whole Works of Samuel Danyel. Danyel's most frequently performed piece, Like as the Lute Delights notes and demonstrates the careful interplay between lute and voice that is required for the intricate lute songs of this era. His three-part song cycle Griefe Keepe Within is dedicated for the funeral of the husband of "Mrs. M. E.", exact identity unknown. The text of this song speaks of the uselessness of tears, as they serve just as easily for happiness as for sadness. Tyme, Cruell Tyme is an admonition of Time itself, which seems to be conquered by a beautiful woman. Always fascinated by the techniques and devices used in composition, his three-part Can Dolefull Notes asks and attempts to answer questions about which musical approach should be executed for specific emotions. In late 1625, after attending the funeral of King James I/VI and becoming part of the "houshold of or now dread Sovereghne Lord King Charles,' John Danyel died. Aside from being the best known composer for lute and voice, John Dowland is now believed to have been involved in espionage for Queen Anne of Denmark and for Sir Robert Cecil. This post was likely achieved through his conversion to Catholicism. There is research being conducted into the possible double-entendres of some of his poetry that was sent from court to court. It is not unlikely that he wore lots of black clothing and carried a metallic briefcase full of scores. Some of Dowland's texts were his own, while some were of unknown authorship and used by multiple composers. What if I Never Speed is a song of unrequited love that warns the beloved that the singer has choices and is willing to move on. As usual, though, the smitten remains smitten at the end. I Saw My Ladye Weepe is one of Dowland's most famous lute song. It describes in great detail the countenance of a woman in deep sorrow. Dowland and various members of his family transcribed known lute solos and songs into what is now known as the Dowland Folger Manuscript, held at the Folger Shakespeare Library. Most of these pieces are anonymous and were likely used as a teaching tool for lute students. Renowned for deeply depressing pieces, Dowland (pronounces doe-lind) wrote his lute solo Semper Dowland Semper Dolens (Always Dowland Always Pained) in 1600. He died in 1626, just a few short months after the death of John Danyel. The organist Thomas Tomkins later dedicated a madrigal to Dowland and Danyel, linking the two composers for posterity. Francis Cutting was a well-respected lute player, composer and arranger about whom very little is known. Most of his compositions remain in manuscript form and were not published in his lifetime. Doctor, lawyer, poet and musician Thomas Campion had a way with words. He composed a large collection of airs and masques, almost all of which were set to his own poetry. Campion was known for his story-telling songs, which contrasted the emotive techniques used by Danyel and Dowland. However, he also occasionally published an impassioned melody. A perfect depiction of adolescent angst, See Where She Flies illustrates a young woman whose temper flares, and yet her allure is still great. When the God of Merrie Love is a strange cautionary tale of a nurse who chides the God of Love. Although it begins pleasantly enough, the nurse does not fare well through the short tale. Another piece that weaves a story is When Thou must Home to Shades of Underground, where the story-teller turns out to be hiding something from the listener until the very end. The Sypres Curtaine of the Night is an atmospheric song which paints the darkness, after which the ghosts and goblins all come out. It relates a fear of the unknown and of death, which Thomas Campion himself may have felt when he was accused of (and later acquitted of) the murder of Sir Thomas Overbury. Campion died of plague in 1620, when health-care workers and physicians had no access to vaccines, and there were not even queues to complain about in Public Health offices. A Note on Programming This programme is meant to take the audience through the rise and fall of a life. It begins with the pleasant sounds of music, song and morning. It works through pubescent drama toward the resignation of adulthood and the sometime despondency of middle age. The programme closes with the acquiescence to death or sleep. Thus, it Swells, Bursts and Dyes. A Note on Spelling The poetry being presented in this programme was written before the advent of English standardised spelling. There were manye attempts at correcting this confusion made betweene 1568 and 1634 by severall renowned orthographers. Nonn of these proposalls waz giv'n due consideration as writers and ye litterate folkes of the tyme had becom accostom'd to ye varrious spellinges of eech wird. Composers e'en spelt theyr oun names inconsistentlie from one dockument to the nexte. The Symplifyed Spelinge Bord was created in the Unit'd States in 1906, at wich pointe Andrew Carnegie and manye of his litterarie colleegues beganne to putt in playce the words we alle nou knou to bee accept'd Inglishe. Keepe reedinge ye poemes - thou gets used to it. -GMcL.- Shop: odax
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Whisperings of Love
Have you ever come across some old sheet music in an antique store, and wondered what it would sound like? Our musical tastes have changed a lot over the years. Recorded music has made music available in ways unimaginable to our ancestors. There is a lot of music out there that we simply do not hear. It is neither classical music, nor is it the occasional piece or sub-genre that has managed to hang on through luck, or the happy circumstances of popularity. Music that we would normally find thoroughly enjoyable languishes on dusty shelves and inside creaky old piano benches, simply because the casual musician would find them impossible to play, and because they did not find the right people to preserve them and carry them forward to our time. The music from the late 1800's to the beginning of the 20th Century marked the end of an age in an exceptional manner. It was the culmination of a technical trend that intersected with the cultural explosion of recorded music, and it spelt disaster for beautiful songs that in other times would have eventually made it into the hallowed realms of classical music. The most popular of this form of music was referred to as 'Salon Music', often written and played in the Romantic Style. Salon music was simply the popular music of the day, played in smaller concerts to a relatively small audience. At the time, of course, there was no radio, and no recorded music to speak of (not counting player pianos, of course). If you wanted good music, you had to play it yourself. There were a lot more pianists in those times, and many of them were more highly skilled than pianists are these days, as a whole. Instead of having popular recordings of music, you bought sheet music, and learned it yourself. One thing that was different about salon music was that the musician is as much a part of the show as the music itself was. While classical music was played in a more formal style, with an emphasis on strictly playing the music as written, a salon musician was first and foremost, a showman. Some of the famous salon musicians remain famous to this day for their style and behavior both in front of, and away from a piano. Liszt and Chopin were both well known salon musicians. They were, if you will, the "rock stars" of their day. Romantic music was not to be played by the faint of heart. The emotions of the composer had to come through, through the notes and the expression of the pianist. It was not a job for the average pianist, and often the single best performer of a piece of music would be the actual composer or arranger. There is a lot of musical variety to salon music - from the bold to the delicate -- but the one thing that it all has in common is that it is as much a performance as it is music. Tatyana has been looking at old music - as a classically trained concert pianist (top of her class at Tashkent Conservatory), she knows and loves music that can showcase her abilities, and many of these pieces are real forgotten gems. While most musicians would shy away from them, as being entirely too difficult to master, she is happy to spend the weeks to get to know them, and to Polish them and bring them out of their hundred year slumber and back into the popularity they deserve. I hope you enjoy listening to this music as much as I have enjoyed listening to Tatyana practice them - it is a real treat. Tyson Boellstorff.- Shop: odax
- Price: 23.60 EUR excl. shipping
