Hurdy-gurdy Mailing List - May 2001
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Our deepest thanks to Maxou Heintzen for this fabulous photograph, taken at Saint-Cloud near Paris in 1957 by an unknown photographer.
The following are the archives of the Hurdy-gurdy Mailing List, sponsored by Alden and Cali Hackmann of Olympic Musical Instruments.
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Date: Thu, 3 May 2001 23:58:21 +1000
From: Brian Lemin <brian_l _at_ tpg.com.au>
Subject: [HG] Symphony
I have been told that a popular woodwork magazine recently published a "How
to make" article on the Symphony or hurdy Gurdy.
Does anyone recall those articles and if so could they give me the
references please.
Many thanks
Brian, from Cooranbong in Australia
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Date: Thu, 3 May 2001 17:39:18 +0100
From: arthur nichols <arthur _at_ anichols.freeserve.co.uk>
Subject: Re: [HG] Symphony
Hi Brian
Practical Woodworking had the first article of a four part project in the
Dec 2000 issue. The author was Stuart Raymond, I was not very impressed
with the first part so did not buy the others.
The wheel shaft was a bare screw thread which had a threaded portion jutting
out into the path that the wrist takes when turning the handle, this I
thought was dangerous , I wrote to the editor and said so.
Possibly it would be an OK project if you applied sound engineering
practices to the construction.
Arthur Nichols
Wolverhampton UK
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Date: Thu, 3 May 2001 18:15:05 +0100
From: J&A Turner <atthings _at_ lineone.net>
Subject: Re: [HG] Symphony
As a woodworker of considerable experience I can concur that the articles in
Practical Woodworker are usually of a very dubious quality.. As they pay
such low rates for articles proffessionals are not interested in writing for
the publication. Therefore the articles are usually not how to make an
article .. whatever it is but " How I found out about making a hurdy gurdy
and wrote an article about it" Makes you shudder..
Adrian Turner.. Cabinet maker and Luthier
www.hudson83-freeserve-co-uk.freeserve.co.uk
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Date: Thu, 3 May 2001 23:02:03 -0700
From: george.swallow <george.swallow _at_ beechcottage98.freeserve.co.uk>
Subject: Re: [HG] Symphony
I do not agree that the articles in Practical Woodworking are "usually
dubious" (Adrian Turner) but I do agree that the hurdy gurdy recently
described therein would leave most members of this group unsatisfied.
A real symphonie was described in the same magazine in April 1990 and I
still have the articles, but it is just like a box and diatonic as well.
However authentic this might be, it may be of limited interest except as a
stepping stone to greater things.
Almost all of the material on making musical instruments of all kinds has
been written by amateurs, from Heron-Allen onwards, some of it of doubtful
value, but it has still over the years filled an aching need. Obviously
professionals have their living to earn, and we cannot expect them to bestow
their knowledge and experience so freely. But it does happen, and I refer
everyone to http://www.gerbeth.at where you can find detailed instructions
on making a violin bow, gratis and for nothing.
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Date: Fri, 4 May 2001 01:55:24 +0100
From: J&A Turner <atthings _at_ lineone.net>
Subject: Re: [HG] Symphony
I maintain as a very experienced proffessional that the articlas in
Practical Woodworker are always dubious and the fact that you only have
enough expertise to recognise that the hurdy gurdy one was is
understandable but not excusable .. A. T.
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Date: Fri, 4 May 2001 08:34:09 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] Symphony
Probably no one there (at the magazine) meant any harm, but we as a defined
group want to keep up the public's image of the hurdy gurdy. Not to let it
go by too easily if a design or picture wouldn't really work well as a fine
musical instrument, we set higher minimum standarts for approval.
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Date: Fri, 4 May 2001 23:37:57 +1000
From: Brian Lemin <brian_l _at_ tpg.com.au>
Subject: Re: [HG] Symphony and practical wood worker
OK guys i have got the message. I do not think i will bother.
I am an Early music maker (strictly amateur) and have made a number of EM
instruments. As far as my research goes there is very little evidence that
i can find of what there actually is inside the symphony box of medieval
times. Have any of you guys turned up more detailed information on it?
Brian, from Cooranbong in Australia
Web Site http://bobrian.australia.webjump.com/index.htm
Mostly about lace bobbin history and other various "needlework" tools (like
tatting shuttles, lucets, crochet hooks, drop spindles)
It also includes some pages on Spinning Tops.
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Date: Fri, 4 May 2001 11:30:02 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] Symphony and practical wood worker
I didn't mean to be speaking for everyone.
Hope my thoughts were ok. Just me writing...
When I wrote, it was just a casual thought.
I didn't imagine that the magazine had meant harm with a non-professional
instrument.
jim .
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Date: Fri, 04 May 2001 17:40:01 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: Re: [HG] Symphony and practical wood worker
Hello,
Brian Lemin wrote:
(...) As far as my research goes there is very little evidence that
> i can find of what there actually is inside the symphony box of medieval
> times.
arthur nichols wrote:
(...)> > The wheel shaft was a bare screw thread which had a threaded
portion
> jutting
> > out into the path that the wrist takes when turning the handle (...)
normally I gave up interferring with those "how to make a HG ...(do it
yourself level)" since I concider a HG to be an instrument as complex
and demanding as a violin or a piano at least.
From time to time I raise my voice to recall the fact that it is at
least a musical instrument. Saying: It is true, we do not know what was
inside a symphony from direct observation, but we do know how HGs were
made for centuries later on AND we do know that the symponies used in
church were used by well educated musicians. Even if we have to
consider that we do not know about the reallity of music in medieval
times, we have reconstructions of recorders, harps, shawms, organs etc.
and therefore we know about the sound quality into which a symphony had
to fit. Meaning: todays symphonies have to fit in to their reconstructed
instrument colleagues, so it does not make any difference at all if this
is truly "medieval". (what Arthur describes does not look medieval
anyway). Do it yourself instruments are a usefull help for getting a
better understanding of an instrument, they are in no way at all a
possibility to get a economically priced instrument.
Simon Wascher - Vienna, Austria
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Date: Fri, 4 May 2001 21:00:19 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: [HG] hurdy gurdy price??
Does anyone know what the highest priced Hurdy Gurdy would be? Just
wondered??
In other Countries do they offer Hurdy Gurdys in music class??
thankyou,
Laura
Date: Sat, 5 May 2001 08:57:10 +0200
From: "[Windows-1252] Site \"Vielle ŕ Roue\"" <hg.vielle _at_ wanadoo.fr>
Subject: [HG] Hungarian player
Hi,
Anybody could give me Robert Mandel's coordinates, the Hungarian hg's player
?
Thank you,
Xavier AIME
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Date: Sat, 5 May 2001 18:39:40 +1000
From: Brian Lemin <brian_l _at_ tpg.com.au>
Subject: Re: [HG] Symphony and number of keys
Re Simons reply on the value of reproductions. I am not putting myself in
the class of professional instrument makers who have painstakingly
researched instruments that are not extant and then reproduced them for our
pleasure. But we do owe them a debt of gratitude.
I recall the work I did on reproducing the Memling Angels (Amsterdam museum
I think) Tromba Marine. I recall being with a group of instrument makers
with a magnifying glass and arguing for most of two hours as to whether it
was a "square" or a "triangular" instrument. We were almost evenly divided,
but i made mine triangular.
I suppose the inside of the symphonia is pretty well an educated guess and
makers would not be too wrong, except i see reproductions that have from 10
to 23 keys. What would be the best guess as to number of keys in an early
instrument?
I would start with ten as my best guess in the originals, but i can
understand that a much more playable instrument would have 23 keys.
Brian, from Cooranbong in Australia
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Date: Sat, 5 May 2001 16:46:47 +0100
From: Neil Brook <hurdy.gurdy _at_ virgin.net>
Subject: Re: [HG] hurdy gurdy price??
How much would you like to pay? Just wondered ?? :-]
Neil
www.hurdy-gurdy.org.uk
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Date: Fri, 4 May 2001 22:26:27 -0700
From: Joan L. D'Andrea <jeepstr42 _at_ uswest.net>
Subject: Re: [HG] hurdy gurdy price??
Hi. I was contacing you for Jo Abrahams. I understand she found you on the
net. Thanks. I have a Minstrel of my own. Sorry to hear you have to
sell yours, I love mine.
Joan L. D'Andrea
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Date: Sat, 5 May 2001 14:50:19 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] Hungarian player/R Mandel
... his e mail is the same as last year, and his address is new:
His page is:
http://www.mandel.hu/quartet_e.htm
The page he gives lists his correct, new home address
and phone:
Telephone: 00+3630 2228609
Address:
Mandel Productions Ltd.
2089 Telki, Levendula street 33
Hungary
Contact: mandel _at_ mail.datanet.hu
jim)
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Date: Sat, 5 May 2001 15:11:51 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] hurdy gurdy price??
ok if money was no thought... What is the most anyone has ever spent ?? And
is the value based on the reputation of the person that made it??
I guess I just wondered.. How long would it take for a person to learn to
make a Hurdy Gurdy that had any value to it at all??
thanks
Laura
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Date: Sun, 06 May 2001 10:09:23 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: Re: [HG] hurdy gurdy price??
Hello,
zhenya wrote:
> ok if money was no thought... What is the most anyone has ever spent ??
usually the price of a hurdy gurdy is about the price of a viola da
gamba or a saxophone, A standard bassoon is about the price of an
expensive hurdygurdy, and I never heard of a hurdy gurdy that costed as
much as a new custom made chello from a pro.
zhenya wrote:
> is the value based on the reputation of the person that made it??
Not much, mainly with antique instruments. Normally the reputation is
based on the quality of the instruments done by the maker, so
"reputation" seems to be significant, but an acknowledged customer will
decide from the qualities of a specific instrument. (There is no help
with blokes who buy things by the label).
> (...)How long would it take for a person to learn to
> make a Hurdy Gurdy that had any value to it at all??
About as long as it takes for learning violin making.
Simon Wascher - Vienna, Austria
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Date: Mon, 07 May 2001 00:00:33 -0700
From: Alden & Cali Hackmann <hurdy _at_ silverlink.net>
Subject: Re: [HG] Symphony and number of keys
Dear Brian,
You said: >I recall the work I did on reproducing the Memling Angels
(Amsterdam museum
>I think) Tromba Marine. I recall being with a group of instrument makers
>with a magnifying glass and arguing for most of two hours as to whether it
>was a "square" or a "triangular" instrument. We were almost evenly divided,
>but i made mine triangular.
>
I am sure someone else will speak up about this, but here are my thoughts
:-) Using art to base a musical instrument reconstruction on can be a bit
tricky. It is often a wonderful source, but my experience is that
frequenctly it is not accurate. Artists (and occasionally I am one) often
take a bit of license when drawing their subject. The bottom line on this
is that you can't rely on art for an accurate depiction. There are
examples of specific painting and drawings where the artist has faithfully
rendered instruments and these have been used to increase our knowledge,
but more often the picture or sculpture is representational at best.
I'm with Simon on this one. The best test is to compile as much
information about the literature played in a time period and about the
instruments which we have examples of and then we all just take our best
shot on recontructing these things. After all, you can't lift the lid on a
painting or sculpture :-)
Thanks for being willing to ask the question and we all have to remember we
are on this list because we are passionate about the instrument so we can
get a bit carried away :-)
Cali Hackmann
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Date: Mon, 7 May 2001 20:40:11 +1000
From: Brian Lemin <brian_l _at_ tpg.com.au>
Subject: Re: [HG] Symphony and practical wood worker
I have heard from an amateur Early Music instrument maker, who made the
symphony from the Practical Woodworker plan. Sure he is sceptical as to its
authenticity, but says it plays well and he would guess that it sounded as
well as any that were made in medieval times.
If he makes another he will try and make it chromatic with 23 strings as the
PW model is OK for actual EM (It has ten strings) but limited for later
music. BTW he has also made a full size 16th century (I think) repro HG.
He indicates that he has had difficulty with this instrument, but what
difficulties I have no idea. I have referred him to this list. I do not
know if he will join.
Oh yes, he wants also to have any future symphony with 6 strings. I would
guess that it would be a bit of a challenge.
Thank you for your continuing help. I am enjoying you educated and
practical criticism. I don't know who said it but "listen and learn" is a
good start to any project.
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Date: Thu, 10 May 2001 22:38:01 +0200
From: www.altemusik.net <thomas _at_ altemusik.net>
Subject: [HG] Herzliche Einladung zu einen besonderen Konzertabend !
Zu einen besonderen Konzertabend wollen wir Sie sehr herzlich einladen:
Liedermacher einst und heute
Peter Blaikner & Dulamans Vröudenton, Moderation: o.Univ.Prof.Dr. Ulrich
Müller
Eine Begegnung: Alt trifft Neu - Wissenschaft trifft Kunst
Der Kindertheaterautor und Liedermacher Peter Blaikner,
der Salzburger Germanist und Mittelalterforscher Univ.Prof.Dr. Ulrich Müller
und das Salzburger Ensemble für Alte Musik Dulamans Vröudenton
sitzen zusammen, reden, singen und spielen über das, was uns Menschen
bewegt:
Liebe - Sehnsucht - Trauer - Altern - Entsagung - Spott - Ironie und wieder
die Liebe!
Mit ihren Texten und Melodien wollten die Liedermacher von heute und gestern
dem nachspüren,
was uns zum Menschen macht, unsere reiche Gefühlswelt.
Nähere Info unter:
http://www.altemusik.net/science.htm
Weitere Konzerttermine unter:
http://www.altemusik.net/aktuelle.htm
Mit freundlichen Grüssen,
Thomas M. Schallaböck
_____________________________
AMSA
Alte Musik Salzburg Austria
http://www.altemusik.net/index.html
eMail: thomas _at_ altemusik.net
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Date: Fri, 11 May 2001 20:09:36 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] event: Paris
I found this on a page on the internet: I thought, woa!, I'd give my right
arm to be there to see that. (An american phrase there.)
I can't believe that I live about 5,000 miles from that performance. I think
I might dive into the north atlantic here start to swim across...
Then, I realised that I guess this was in the year 1999. (Don't start
swimming.)
Since the hg list has been so quiet I will send this letter just for fun.
Web piece copied here:
"Rotation." As part of the annual Festival de Saint-Denis,
actor/juggler/dancer François Chat teams up with Valentin Clastrier, who
plays an electric hurdy-gurdy, to explore the theme of cycles. Inspired by
the lives, discoveries and philosophies of Galileo, Leonardo da Vinci and
native Americans. June 9-11, 14, 16, 17, 18, 22, 23, 9pm; June 13, 5 pm;
Magic Mirrors, pl Robert de Cotte, St-Denis, METRO: St-Denis Basilique,
60F/90F.
Source: http://parisvoice.com/99/june/html/calendar.cfm
from, jim winters.
Maine, USA
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Date: Sat, 12 May 2001 11:23:55 +0200
From: Ernst Kainzmeier <kainer _at_ chello.at>
Subject: [HG] Clastrier CD's for sale
Hello everyone!
I want to offer a box of Valentin Clastrier CD's. I bought it at amazon.com
, but must confess that they actually do not correspond to my music taste .
Unfortunately I had not sufficiently informed before. Therefore my supply:
Valentin Clastrier (and others):
" vielle a roue au pays cathare " (hurdy gurdy from the land of cathars)
2 CD Box, contain the CD's " Le Bűcher des silences " as well as " hérésie
".
AUVIDIS/SILEX Y225070
The price with amazon (inclusive postage): 29.- USD, I do offer it for only
15.- USD(plus postage)! Who's interested in getting Clastriers unusual music
should contact me by Mail ( kainer _at_ chello.at ).
Greetings to all and a beautiful weekend!
Ernst
(Vienna/Austria)
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Date: Sun, 13 May 2001 00:18:36 +1000
From: Brian Lemin <brian_l _at_ tpg.com.au>
Subject: [HG] Symphony
Of all the pictures of Symphonys that I have seen on the net the model made
by Bernard Ellis (now deceased) is the one that attracts me the most.
If anyone has some idle time to look at the URLs below and might want to
make a comment on this choice, I would be pleased to listen to it.
http://www.ellisium.cwc.net/ This one is the model that I want to base my
design upon
http://www.s-hamilton.k12.ia.us/antiqua/hurdy.htm another picture of the
Ellis
Other pictures of Symphonys
http://www.larkinam.com/MenComNet/Business/Retail/Larknet/Hurdy includes a
kit
http://w3.datanet.hu/~taltos/balazs.htm
http://www.luthiers60.freeserve.co.uk/instruments.html
http://www.hurdygurdy.farmcom.net/front.html good pictures
http://www.winshop.com.au/fredjk/symphonie.htm good pictures
Brian From Cooranbong Australia
http://bobrian.australia.webjump.com/index.htm
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Date: Sat, 12 May 2001 11:09:04 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] Clastrier CD's for sale
I had written yesterday about Valentin. I do have this cd set
it is really amazing music. Often people don't enjoy it, though. It sure
isn't classical or pop, and it isn't exactly jazz. Experimental could be an
acceptable word. (I happen to love experimental instruments.)
There is a little tuva singing on one trac--about the coolest, weirdest
stuff.
:) Another is solo, electric hg that gets very fast and then has the sound
breaking up somehow, and is in the key of Ab.
The tuba is also more unorthodox or noise-like. The player sings and plays,
something that leads to the soundon a brass instrument to break up.
I wish more was written about Valentin, the person, or the artist. Final
thought, Cathars is an historical church, mid evil, in France...
I had these thoughts today.
I would love to hear anyone's thoughts if they know the artist from
first-hand experiences.
Thanks for reading and have a good day all...
jim
Maine
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Date: Sat, 12 May 2001 18:59:26 -0600
From: Doug Abshire <dabshire _at_ mindspring.com>
Subject: [HG] Clastrier CD's push the "envelope"
Boy Howdy!
This (Clastrier CD's)is some of the most amazing HG music I have ever heard!
Yes, I like 18th C french dance music and yes I like Hg in scandanavian,
english american and other folk nationalities / groups. But, the 2 Cd set
really "redefines" how a HG can be a solo as well as an ensemble instrument
in a more improvizational recording.
if you liked this, what other(s) would would suggest?
But what do I know...
Ashe-o-limg. DA
"Seen any good-looking archetypes lately?" C. Jung
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Date: Sat, 12 May 2001 18:24:33 -0700
From: Salvation Jane <salvation-jane _at_ home.com>
Subject: Re: [HG] Clastrier CD's push the "envelope"
I, too, am a huge Clastrier fan. I first came to love hurdy-gurdies
through him!
~~Jane
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Date: Sun, 13 May 2001 09:31:13 +0300
From: Juulia S. & Esa M. <ottilia _at_ saunalahti.fi>
Subject: [HG] hg-tutor in Australia?
Hello everyone, especially those of you who live and play/build vielles in
Australia:
I have a 10-year old student who has started to play a small diatonic
vielle in february. She and her family are leaving Finland for one year,
they will travel to Sydney in June.
Is there anyone in Sydney area, who could continue my work as her tutor
with vielle?
She has reached fairly decent manners with fingering and steady operation
of the wheel. We are still working weekly and practising trompette and
maintenance with all other essential things.
Her repertoire is of course now limited, I have selected pieces that help
with the fingering and articulation. For example Jean Sibelius'
Finlandia-hymn has been a good choise for her: Same notes repeated, melody
moves in thirds, the positon of the hand must be changed once up and then
back etc... Of course Finlandia sounds great with vielle too. Mirka is
gentle and relaxed, very musical and sings in a choir here too. She does
not speak english now, but she is a quick learner.
Her instrument has trompette, low drone and a melody string. It is tuned
in G/C. It is diatonic, but cleverly has both low and high 7th, ie. f and
fis. The sound is synphony-like; small and singing. The maker is Billy
Horne who lives and works here in Finland (www.billyhorne.com).
Esa Mäkinen
Esa Mäkinen & Juulia Salonen
puh/ tel 09-8235318
katso/ kolla/check:
www.ihtiriekko.net
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Date: Sun, 13 May 2001 01:06:29 -0700
From: SB/JW <duodrone _at_ earthlink.net>
Subject: [HG] Netherlands visit
Hello,
I will be visiting Amersfoort in the Netherlands (with a GC hurdy gurdy)
around the last week of May and would welcome a chance to play or meet with
any local draailier afficionados, if there are any in that neighbourhood.
Met vriendlijke groeten,
Juan
Inglewood, California.
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Date: Sun, 13 May 2001 13:12:16 +0200
From: Cor Westbroek <bourree _at_ hetnet.nl>
Subject: Re: [HG] Netherlands visit
Hi Juan,
If you're already here on may 20 you have a chance to visit the "national
doedeldag" In Oegstgeest near Leiden.
This is in fact a day for bagpipers but you can always find some
"draailierspelers" there.
I'll check if there are any more events, (I doubt it)
and I'll let you know
Cor Westbroek
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Date: Sun, 13 May 2001 18:16:52 +0200
From: René Meeuws <meeuws _at_ msmp.demon.nl>
Subject: Re: [HG] Netherlands visit
Not far from Amersfoort (about 400 km.) is the yearly Festival of Kurt
Reichmann in Lissberg, near Frankfurt (Germany): from 24 to 27 May. For
hurdy-gurdy, bagpipe and ancientmusic. Informations:
natalia.issupow _at_ t-online.de.
Even less far from Amersfoort (about 200 km.) is the yearly Festival
"Pinkstertreffen" in Gooik near Brussels (Belgium): from 1 to 3 june. All
kinds of traditional music. Informations: DeCockB _at_ yucom.be.
Houdoe, doei & groetjes,
René Meeuws
meeuws _at_ msmp.demon.nl
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Date: Sun, 13 May 2001 19:42:25 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] Clastrier CDs push the "envelope"
>if you liked this, what other(s) would would suggest?
:) Like the English phrase: If you loved_____, then you'll really love
______.
:)
Disclaimers first:
1) I am very humble here; no one should get mad at just an opinion written
with a light heart.
2) Since I like Valentin's music very much, it is thought by me to be a
compliment
for someone to be compared to him as a musician.
Still, he (Valentin) burns with a bright flame and often people have strong
opinions, even against his work.
He did two other CDs besides the boxed set; both are listed in Alden's
discography.
If he is soloistic, and experimental, and perhapes at great moments
contemplative or hypnotic, I thought:
Rene's work, two CDs; on Tiz (his CD) electric hurdy-gurdy with soft,
electric guitar feed-back, for example. Awesome, I feel.
For a terrific, closer look:
http://www.musicwords.nl/appellation.eng.htm
A solo, acoustic CD by Mark Egae in Spain, though I know of no way to
contact him right at the moment of this letter.
And, Pascal LeFeuvre. His web site page that relates here:
http://albacarma.free.fr/
Two CDs feature vielle and a bowed, electric bass, for example.
And, may be even the thought of some sort of either experimental and
etherial instruments.
The following links suggest this kind of corner of the musical world. These
are some sites to spark ideas and which speak for themselves. I wish
artists on the hurdy-gurdy could combine more often with instruments like
these:
http://www.windworld.com/emi/products/oshb.html
http://www.glassarmonica.com/
http://www.deeplistening.org/links.html
http://www.artcars.com/LSI/ellenhome
http://www.davidholt.com/music/mouthbowdetail.html
Finally, some very old, folk sounds can be very provocative and arresting,
for example, eastern music.
Thanks as always for reading this and I hope it seemed time spent.
from, jw
Maine
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Date: Mon, 14 May 2001 09:07:41 gmt
From: wencesmc <wencesmc _at_ interacesso.pt>
Subject: [HG] Been to Pomáz
Hallo everybody:
so thanks to this list the little Spaniard who was to spend some days in
Budapest went to the HG event in Pomáz. And it seems someone is going to
"organize" his trip to the Netherlands with similar resources...
First advice: if you love life do not even accept Nagy Balázs's offer to
take you in his van ,or, at least, tie your seat belt as hard as you can.
Mr. Balázs was extremely kind and introduced me to some people there,
namely Mr. Gyula Zentai who guided me all the time round. Entry plus meal
was affordable: 2400 forints.
The event was more a little "meeting" than a "festival". It began with a
conference by an anthropologist about collecting traditional music and the
types of music HG played in different Hungarian-speaking areas, with
plenty of sound examples. People made questions and there was some
discussion, but I did not understand them (Mr. Takách Gustáv translated it
for me afterwards).
The meeting followed with some fingering and wheel control exercises that
Simon Wascher taught to us on an open air stage . He also made a public
demonstration of liquid rosin. After this, Mr. Béla Szerényi (a tiny and
nervous man) showed us some Hungarian traditional melodies. Mr. Pal
Havasreti (a quiet and fat man) was also there enjoying and giving some
support. There were also members of the Hungarian "Viellistic Orchestra"
(sorry, I forgot its real name) with those funny black hats .
Next part of the event was what seemed end-of-the-year show of Mr.
Szerényi pupils. This was the main reason to come for most people there.
Though some things could be classified as "boring", parents were boasting
around. And I must admit most of them were children and teenagers that
played better than I will ever be able to do. One of them had Clastrier's
haircut ! However, they only played strong-beat Hungarian and French dance
pieces and a scenified tale. Even, a little 4-year-old girl sang and tried
to play a tune. There is not such an amount of children playing HG in
Spain and Portugal (five times the population of Hungary)!
We entered to a room where Simon Wascher and a violinist performed a small
concert, showing how sometimes it is more difficult to play slowly without
losing intensity than playing fast scale up and scale down dance patterns.
He showed also the intrincacies of his HG built by witty luthier
Wechselbaumer.
Afterwards, there were some performances by Szerényi with singer Judit
Kótar and group, followed by remarkable pieces by other (non hurdy-gurdy)
set ensembles that include Mr. Havasréti. One of the set ensembles
featured astonishing violinist Vujcsics Béla from the "Téka" group.
Mr. Nagy Béla took me again to Budapest (Yes! I survived twice to his
Monza style of driving!). He is a member to this list and would kindly
guide you if you have some questions. Perhaps he can state his points of
view about this meeting.
Best regards,
Wenceslao Martínez Calonge
wencesmc _at_ interacessso.pt
http://www.interacesso.pt/web/wencesmc/index.htm
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Date: Mon, 14 May 2001 01:43:44 -0700
From: SB/JW <duodrone _at_ earthlink.net>
Subject: Re: [HG] Netherlands visit
Thanks Cor and Rene for your suggestions.The "Pinkstertreffen" would be
the only possibility in my schedule, as I have only a few few hours, a day
at the most, to steal for hurdy gurdy indulgence. Too bad, so many choices,
so little time.
Nogmaals bedankt,
Juan
= = = = = = = = = = = = =
Date: Mon, 14 May 2001 22:25:24 -0700
From: R. T. Taylor <rtaylor _at_ amp.csulb.edu>
Subject: [HG] Re: [HG] Been to Pomáz
----- Original Message -----
From: "wencesmc" <wencesmc _at_ interacesso.pt>
To: <hg _at_ hurdygurdy.com>
Sent: Monday, May 14, 2001 2:07 AM
Subject: [HG] Been to Pomáz
> There were also members of the Hungarian "Viellistic Orchestra" (sorry,
> I forgot its real name) with those funny black hats .
>
You proubly saw the Hungarian Tekero Folk Ensemble which is called Magyar
Tekerozenekar.
They have 2 excelent CD's. The first is called Kertunk Alatt and the other
is called Este A Fono-Ban. Some of the members also perform in the Bokros
Ensemble that performed at St. Chartier last year. The Bokros CD is called
St. Gellerts Legend. And Bela and his wife Judit have a CD called Tul A
Tiszan.
I picked up 2 Cassettes from Nagy Balazs last summer at St. Chartier that
are also very good. One is from the Bourdon Trio called Bourdonaria and
the other is from the Taltos Egyuttes called Tavazsi Szel.
So Wenceslao, are you now a Tekero player too?
When I posted the anouncement about this event I had no idea that someone
would be able to attend it. I am happy that you were able to attend this
gathering.
I hope that other people will also post information about other workshops,
concerts etc.
r.t
= = = = = = = = = = = = =
Date: Tue, 15 May 2001 18:54:59 +0200
From: Reymen reymen <reymen _at_ pandora.be>
Subject: [HG] (geen onderwerp)
Hello,
I just finished a box model HG ,you now the medieval type.
Finnished i.e. I still have to made the soundholes in the soundboard and
in the boxlid.
Is there anyone who can give me advice about the aprox dimensions of
those openings?
They told me that the magnitude of the openings is a very importand
factor for the quality/quantity of the sound.Is there someone who has
experience about this issue?
Please let me now...
Marc Reymen
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Date: Tue, 15 May 2001 18:16:33 +0100
From: Work <nosullivan _at_ stangelascollegesligo.ie>
Subject: [HG] greetings from a new list member
Hi,
I'm a hurdy-gurdy player from Ireland. I have a lute-backed
and a guitar -shaped hurdy-gurdy by the now Galway-based Paul
Doyle. I started playing the French folk reportoire but in recent
years have been playing more of the (easier!!) Baroque pieces,
often in duet with recorders, clarinet etc. I also play renaissance lute,
vihuela, renaissance guitar.
a summers evening
sitting among the cedars
playing the vielle
regards to all
Nic
Nicholas O'Sullivan
Librarian
St. Angela's College
Lough Gill
Sligo
Ireland
= = = = = = = = = = = = =
Date: Tue, 15 May 2001 18:19:33 +0100
From: Work <nosullivan _at_ stangelascollegesligo.ie>
Subject: [HG] carbon strings
Dear all,
Has anyone experimented with carbon strings for the chanterelles in
Bourbonnais tuning and if so could you give suggestions as to guages for
both high and low chanterelle
Thanks
Nic
Nicholas O'Sullivan
Librarian
St. Angela's College
Lough Gill
Sligo
Ireland
= = = = = = = = = = = = =
Date: Tue, 15 May 2001 21:36:14 +0100
From: Neil Brook <hurdy.gurdy _at_ virgin.net>
Subject: Re: [HG] (geen onderwerp)
In my experience, the size of the soundholes is not so critical. I would go
for a design that suits the era of your model.
Neil
www.hurdy-gurdy.org.uk
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Date: Tue, 15 May 2001 21:55:22 +0100
From: Neil Brook <hurdy.gurdy _at_ virgin.net>
Subject: Re: [HG] carbon strings
I seem to remember Nigel Eaton used steel strings for a while ( I assume you
are referring to steel strings as I think carbon strings could make the
wheel rather dirty ! ) The sound is an acquired taste and most players
revert to the sweetness of gut quite quickly.
Neil
www.hurdy-gurdy.org.uk
= = = = = = = = = = = = =
Date: Tue, 15 May 2001 17:09:53 -0400
From: ben grossman <nostyle _at_ sympatico.ca>
Subject: Re: [HG] carbon strings
Nic might be referring to 'carbon fibre' strings which are available for
lutes and such. I've used Pyramid brand on my lutes in the past and it's
still my favourite choice for the g on my ud. I confess that I have not
the least notion of what goes into a carbon fibre string, or why my lute
maker suggested them.
I have, however, used a thin nylon for the high d' of that tuning with
erratic results. I suspect that, depending on the instrument in question
of course, that gut is the preferred solution.
Regards,
ben
= = = = = = = = = = = = =
Date: Tue, 15 May 2001 17:04:16 -0400
From: ben grossman <nostyle _at_ sympatico.ca>
Subject: Re: [HG] greetings from a new list member
Hello Nicholas!
Nice haiku!!!
Regards and welcome,
ben (Toronto, Canada)
= = = = = = = = = = = = =
Date: Wed, 16 May 2001 09:32:05 +0100
From: peter.j.hughes _at_ bt.com
Subject: RE: [HG] carbon strings
I don't know about carbon, but for a while I used a metal (aluminium IIRC)
wound gut viola D string for the lower chanterelle. It worked rather
well, but I was also having trouble finding good gut strings so that may
have biased my view. I've seen people using a steel string for the higher
chanterelle, but I can't recall what it sounded like. The gut strings I
get these days from NRI are excellent.
Viola G strings work very well for a low G chanterelle. Following Nigel
Eatons advice I use Corelli Crystals, which are nylon(or similar) cored.
The medium weight is best - there's not enough space in the pegbox for the
light weight to vibrate properly. Having said that, I guess it's best to
err on the lighter side when trying any new strings!
Let us know how well you get on with the carbon.
Regards
Peter Hughes.
= = = = = = = = = = = = =
Date: Wed, 16 May 2001 11:19:55 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: Re: [HG] carbon strings
Hello,
ben grossman wrote:
> I have, however, used a thin nylon for the high d' of that tuning with erratic
> results. I suspect that, depending on the instrument in question of course,
> that gut is the preferred solution.
I think it is common sense that plain nylon (guitar) strings do not work
well on a hurdy gurdy at all. But just recently I found a brand of
string called "Nylgut" by the italian maker aquila see:
http://www.aquilacorde.com which are very nice strings for high chanters
like g' or d''. (an these Nylgut string is quite cheap too)
> Neil Brook wrote:
> > I seem to remember Nigel Eaton used steel strings for a while ( I assume you
> > are referring to steel strings as I think carbon strings could make the
> > wheel rather dirty ! ) The sound is an acquired taste and most players
> > revert to the sweetness of gut quite quickly.
I know that Nigel Eaton recomended and I think still uses Savarez
"Corelli Crystal" viola strings for g and d'. Thiese strings have nylon
filament core with , I think, flatwound silver surface.
> > > Has anyone experimented with carbon strings
No, I have not tried carbon strings but I am curious about them.
> > for the chanterelles in
> > Bourbonnais tuning and if so could you give suggestions as to guages for
> > both high and low chanterelle
Here is my personal choisse for strings for the Bourbonnais tuning:
high d': 0.64 mm to 0.72 mm Nylgut or Pirastro "Eudoxa" violin e' . One
can also use the Pirastro "Gold" e - string but I cold not hear a
difference on the hurdy gurdy, and the "Eudoxa" is the cheaper one (
http://www.pirastro.com )
low (d') string: the "Corelli Crystal" d' for viola is good, my personal
sonhow lokal choisse is the Thomastik "Spirocore" viola d' which is an
extremly flexible flat-steel wound spiral-metal core string. (
http://www.thomastik-infeld.com )
For strings lower than about f' I cannot recomend plain gut strings if
not for the sake of authenticity.
In general I do not use gut because of the intonation troubles with
parallel tunings in the range from the duodecim of the open strings
upwards, the decrease of volume on high notes and their generally small
range of dynamics.
cu
Simon Wascher - Vienna, Austria
= = = = = = = = = = = = =
Date: Wed, 16 May 2001 11:30:15 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: Re: [HG] carbon strings
Hello,
peter.j.hughes _at_ bt.com wrote:
> I don't know about carbon, but for a while I used a metal (aluminium IIRC)
> wound gut viola D string for the lower chanterelle. It worked rather well,
> but I was also having trouble finding good gut strings so that may have
> biased my view.
My expiriences are that I never found an aluminium wound string that had
a sound I liked. In the opposit, it may be a placebo effect or not I
found that silver wound strings do sound best.
If there is a serious reason to this maybe it is the question of
diameter which influences the vibration behaviour, flexibility when
shortened by a fret (tangent) espescially with the high notes (very
short vibrating lenght!)
Simon Wascher - Vienna, Austria
= = = = = = = = = = = = =
Date: Wed, 16 May 2001 13:43:17 +0100
From: michael.i.ross _at_ bt.com
Subject: [HG] Ebay HGs
Never bought anything from Ebay, but I was just having a look and found
these three today.
The first one looks interesting - from 1850 apparently
Michael Ross
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1430652694
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1430844735
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1431082861
= = = = = = = = = = = = =
Date: Wed, 16 May 2001 15:50:51 +0100
From: Work <nosullivan _at_ stangelascollegesligo.ie>
Subject: [HG] caveat emptor
Dear All,
Let the buyer beware
I think people should be very cautious about buying 'original' instruments
as they may no longer be in playable condition and may require
restoration.
I heard a CD a few years ago which had an original HG by Lambert on it ~
it sounded dreadful and hideously out of tune. On the other hand some of
Claude Flagel's recordings feature an original Lambert which sounds great
after two centuries.
regards
nicholas
= = = = = = = = = = = = =
Date: Wed, 16 May 2001 20:21:20 +0100
From: Neil Brook <hurdy.gurdy _at_ virgin.net>
Subject: Re: [HG] greetings from a new list member
Hi Nic
It was seeing Paul Doyle making a gurdy at Northern Renaissance Instruments
back in the mists of time that started my obsession .
Look me up if you get over the Irish sea - I'm not so far from Holyhead.
Neil
www.hurdy-gurdy.org.uk
= = = = = = = = = = = = =
Date: Sat, 19 May 2001 11:46:39 -0300 (ART)
From: marcos kaiser mori <kaisermori _at_ yahoo.com.br>
Subject: [HG] viela portuguesa
--- wencesmc <wencesmc _at_ interacesso.pt> escreveu: >
> Hallo everybody:
>
> so thanks to this list the little Spaniard who was
> to spend some days in Budapest
> went to the HG event in Pomáz.
> Even, a little 4-year-old girl sang and tried to
> play a tune. There is not
> such an amount of children playing HG in Spain and
> Portugal (five times the
> population of Hungary)!
Hi, Venceslas.
I thought I heard someone speaking portuguese or
spanish, but it seemed too strange for that place. I
was there too, trying to play in the middle of that
buzz-storm.(40 tekeros playing together). I'm sorry
for missing the opportunity of asking you some
questions about hg in Portugal.
Last year, in Brasil, trying to find some
information about hg in the Iberic world, I found a
description of a hg, called "viela portuguesa", and
the book said that this instrument had completely
vanished in Portugal during the baroque. What kind of
hg do you play? Is it the viela portuguesa? Do you
have specific portuguese or spanish tunes to play in
the hg? (besides Cantigas de Santa Maria, of
course...)
Anyway. Its nice to hear about hg in Spain and
Portugal.
Espero que possamos trocar mais
informacoes a respeito. Esse e meu objeto de estudo no
Brasil.
Marcos
= = = = = = = = = = = = =
Date: Mon, 21 May 2001 07:28:12 -0400
From: joseph dinkins <guitarart _at_ naxs.net>
Subject: [HG] HG soundboard thickness
Hello HG luthiers,
I am getting ready to start construction on a lute backed HG. I
have received the Pimpard plans from Michael Muskett and they look
great! For those of you who have built one of these HGs I would like to
know what thickness you prefer for the sound board and lute back
staves. I intend to use alternating maple and black walnut for the
staves. What is traditionally used? I am very familiar with Sitka
spruce and that is what I had intended to use for the sound board. What
do you prefer. Also, being that I am not familiar with the string
tension involved with this instrument, I would like to know how to think
during construction. I do not want to build the instrument too rigid,
yet I want it to be strong enough to stay together. Should I think
"classic guitar" or "steel string". This may sound strange but I find
if I can envision in my mind's eye the instrument and the strengths and
tensions involved, everything will turn out right. Any information you
could share with me would be greatly appreciated. I know there are
master luthiers on the list and I would be honored to hear what they
think.
Thank you
Joe Dinkins
= = = = = = = = = = = = =
Date: Tue, 22 May 2001 13:05:43 +0200
From: Helmut Gotschy <Helmut.Gotschy _at_ t-online.de>
Subject: Re: [HG] HG soundboard thickness
Hello Joe,
There is always a problem with thicknesses on instruments. You'll have
some with thin tops, they sound great and some with thick - they sound
great, maple is also often used as spruce, I prefer spruce between 3.5 to
4.5 mm, depending on the woods action and weight, as ist gets better with
the years, but everytime I made on with maple and when I play it, I think:
sounds great too. Do you know what I mean, Much more interesting is the
thicknes an the shape of the bars, I have realised in the last years, give
the top freedom to vibrate.
Do not expect to make the final gurdy when you make your first one!! It
takes a time to know what is going on, two similar instruments can sound
different. For the strining: just try, it depends so much on the
instrument 5% more or less tension can make a great difference.
Let me know your results, good luck
Helmut
= = = = = = = = = = = = =
Date: Tue, 22 May 2001 07:57:28 -0400
From: joseph dinkins <guitarart _at_ naxs.net>
Subject: [HG] thanks
Hello Helmut,
Thank you very much for your reply to my questions. I was hoping a
builder of your caliber would give me some pointers. Your instruments
are a work of art!
I have found bracing is one of the key elements in guitar building
also. I suppose I will not begin to understand the tensions involved
with a HG until I build a few. I'm ready for the plunge! I am quite
excited about starting on this instrument. Hopefully, when I complete
it my neighbors will not think (as George Sand did in 1853) that it is
the "work of the Devil".
Best wishes
Joe
= = = = = = = = = = = = =
Date: Tue, 22 May 2001 19:14:56 +0100
From: Nicholas O'Sullivan <nosullivan _at_ stangelascollegesligo.ie>
Subject: [HG] Die Bauernhochzeit
Dear All,
Has anyone heard the Ensemble Eduard Melkus version of L. Mozart's Die
Bauernhochzeit it is on Archiv or the Munich Chamber Orchestra version on
Orfeo?
Any recommendations
regards
nicholas
= = = = = = = = = = = = =
Date: Tue, 22 May 2001 22:16:35 +0200
From: Ernst Kainzmeier <kainer _at_ chello.at>
Subject: Re: [HG] Die Bauernhochzeit
Hello Nicholas,
I own the version of Leopold Mozart's "Bauernhochzeit" with the Munich
Chamber Orchestra on "Orfeo" and I like it, although the part where you
can hear the HG is very short. I don't know the other version so
unfortunately I don't have the possibility to draw a direct comparison.
On this CD there are also 8 short pieces for HG and bagpipe, very fine to
listen!
Regards from Vienna!
Ernst
= = = = = = = = = = = = =
Date: Wed, 23 May 2001 08:13:02 +0200 (CEST)
From: marcello bono <lyra_mendicorum _at_ yahoo.it>
Subject: Re: [HG] Die Bauernhochzeit
Hi Nicholas
> Has anyone heard the Ensemble Eduard Melkus version
> of L. Mozart's Die Bauernhochzeit it is on Archiv or
> the Munich Chamber Orchestra version on Orfeo?
I got the Orfeo record and I think it's the only one
with hurdy-gurdy.
I got another Mozart's Die Bauernhochzeit where a
hammered dulcimer plays the HG part, but I prefer the
Orfeo version (not just because of the HG).
By the way, I don't think the HG or dulcimer part is
original: L.Mozart just wrote something like "it could
be nice to play some of the dances with a traditional
instrument".
I should have some references about that at home.
Ciao
=====
Marcello Bono
my hurdy-gurdy page is
http://www.geocities.com/Vienna/1045
= = = = = = = = = = = = =
Date: Wed, 23 May 2001 13:08:03 -0700
From: Bob Mackie <rwmackie _at_ revelstoke.net>
Subject: [HG] new to list, interested in locating cdn hg source
Hi all,
I suppose that I am as new as a person can be to a hurdy
gurdy enthusiast. I have never played either the violin or
any keyboard instrument. My background is guitar, mostly.
Does anyone know of a source for hurdy gurdies in the Vancouver,
Canada area? I really am not too interested in travelling into
the United States or mail ordering from there.
any ideas?
thanks
Bob Mackie
Revelstoke, BC
= = = = = = = = = = = = =
Date: Sun, 27 May 2001 01:48:53 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: [HG] Re: child's song
We were with old-order Amish friends today: and they had heard of the hurdy
gurdy. We went out and got a cd player and played them a solo recording
(Mark Egea.) They want to see one and to even work on mine a little, to try
it may be or work on it.
The Amish preson there knew a song, but said just two lines:
"He's the Hurdy-gurdy man.
Help him in any way you can."
Does anyone know that as being a song?
If so, what are the lyrics?
Thank you.
jim w.
maine
= = = = = = = = = = = = =
Date: Sun, 27 May 2001 13:45:43 EDT
From: DBur333333 _at_ aol.com
Subject: Re: [HG] Re: child's song
The song stikes a very distant bell from my childhood. I'll keep thinging
about it.
Question: I didn't think Amish played musical instruments. I'd be
interested in what is really true. Being from Shaker territory, where such
worldly things were shunned, I may be confusing groups.
Thanks!
Donna
= = = = = = = = = = = = =
Date: Sun, 27 May 2001 18:10:51 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] Re: child's song/Amish
Well, I know some first-hand things about the Amish, and anyone is invited
to write off-list if they become more interested than only these few
thoughts.
This thread is the child's song about a hurdy-gurdy man.
There are some varitiations among Amish, and also Mennonite, and German
Baptists, and Quakers, and Shakers. Of these, Amish are growing in America,
and there are about five living Shakers left, I believe.
The connection to the hurdy gurdy is this idea of the Amish family that I
know being curious about the instrument.
That's really all it is so far. I think it's fair to imagine that the Amish
can be very curious. And, the hurdy gurdy is such an object of curiousity.
For example, I tell many professional musicians about it. It never fails to
get some response socially. And rightly so. the Amish yesterday reacting
merely as human beings I'd say. The ywanted to know a little more.
The deal on musical instruments and the Amish is this: almost never do they
own one. The possible exception is the harmonica. This information comes
from them.
One thing is that they, like I believe most Americans, do not quite "get it"
when music is purley instrumental, as in this case of them hearing a solo
gurdy recording on cd. The husband listened and said it sounded
like,"dodedodedode."
Then, the wife asked to listen to the cd, which in itself should have been a
truely priceless photographic opportunity, at which point she did listen for
awhile, then handed the cd player back, and said, "isn't this like the song
I sang when I was a child, "he's the hurdy-gurdy man; you should help him in
any way you can." Then the husband, I felt wanting to add something more to
the conversation (a social moment which my wife and I call "topper,") said
that he'd like to see mine and may be he could "fix it." I think I barked,
"why yes" and that I would bring it on the next trip to see them, ( which
should be tomorrow.)
And yes, for anyone who has not bailed out of this letter so far, they have
no electricity and do speak German amongst themselves.
That's the news so far.
jim
= = = = = = = = = = = = =
Date: Sun, 27 May 2001 22:15:36 -0400
From: ben grossman <nostyle _at_ sympatico.ca>
Subject: [HG] Advanced Notice: Toronto Hurdy Gurdy Day
Hello to all!
Toronto will be hosting another modest hurdy gurdy day this fall. The
date is 11th November, 2001; exact times and events to be announced.
However, there is sure to be a dance component, informal workshops on
playing and instrument maintenance, and a fiercely intense group of
builders in a huddle debating bearings and such. The evening will
feature a concert of traditional and early music by Toronto's crankiest,
and a dance. There may be other surprises in store, too...
I'll post more details as we make them up, but if you have any questions
at this point, you can email Andrea at a.haddad.zab _at_ sympatico.ca or me
(ben) at nostyle _at_ sympatico.ca.
Thanks and hope to see you there!
Regards,
ben
= = = = = = = = = = = = =
Date: Mon, 28 May 2001 14:53:46 -0400
From: joseph dinkins <guitarart _at_ naxs.net>
Subject: [HG] Glue
Hello List,
I was doing a couple of guitar neck removals this morning and I was
appalled to find that the Martin D35 neck (which had had a previous neck
reset by someone else which didn't hold) was shimmed with masking tape
and glued in with epoxy. Now to bring this into the HG field my
question is to the luthiers on the list. When is epoxy of any use in
instrument building? I find it to only be good for glueing in frets as
it makes fret removal easy by heating the fret with a soldering iron.
For any other joint I use either white glue, aliphatic resin glue or
hide glue. I would like to hear other opinions on glue types and their
uses. Just thought it might be a fun topic.
Best wishes
Joe Dinkins
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 08:54:45 +0200 (CEST)
From: marcello bono <lyra_mendicorum _at_ yahoo.it>
Subject: [HG] Baroque HG player wanted
Hi list
A baroque ensemble from Padova (north-east Italy,
Venice region) asked me to play some of the Chedeville
arrengement of Vivaldi's season concerts.
I performed Spring and Fall with them some weeks ago
and it was a great fun.
The same ensemble have to play in a baroque festival
in Venice, September 1st, and they like to play all
the Chedeville seasons (six concerts, a mix of
different part of Vivaldi opus 8).
My september schedule is full (a new roof in my house,
a new OTW festival and, if I can, some days of rest in
the middle...) so they need a baroque hurdy-gurdy
player.
Any European player interested? I'm sure that several
players from Austria, Germany or Swiss could be happy
(and not so far) to do that...please write me as soon
as possible and I'll give you more information.
The concerts rate between "playable" and "almost
impossible to play with this damned instrument" but
the ensemble consists of 3 soloists (violin, hautbois
and recorder) and 3 pieces continuo section (bassoon,
violone, harpsichord) so it's easy and fun to arrange
the solo "impossible" parts in a way or another, using
other instruments.
Not to mention that they are nice people and good
musicians...
=====
Marcello Bono
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 01:28:11 -0700
From: Bob Mackie <rwmackie _at_ revelstoke.net>
Subject: Re: [HG] Glue
Hello yourself, joseph!
What would you recommend for molded fiberglas/spruce bonding (between top
and sides)?
Bob Mackie
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 12:01:15 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: [HG] austrian repertoire workshop (in german)
Hello,
sorry, that I post this announcement in german language, but I know that
there are some list members from my area who could use this info.
It is about an repertoire workshop for austrian traditional dance-music
that may become reallity in June (16th and maybe 15th and/or 14th,
teaching language: german with austrian accent, but everybody is
wellcome)
Simon Wascher - Vienna, Austria
Hallo,
Bei den Bordunmusiktagen in Gutenbrunn ist die idee eines
repertoire-kurses entstanden, der ungefaehr so wie der unterricht im
tanzhaus funktioniert, ein stueck wird takt fuer takt nach gehoer
gemeinsam eingelernt, melodie, fingersaetze und eventuell schnarre.
Noten werden am ende des kurses ausgeteilt, das ganze ist drauf
ausgelegt die stuecke nach gehoer zu erlernen.
Nachdem eine anregung war, das noch vor dem BordunMusik-Fest zu machen,
kommt da im moment folgender termin in frage: Samstag der 16. Juni,
eventuell zusaetzlich teile des, oder der ganze 15.Juni bei interesse,
oder wenn das dann besser zusammen passt auch der 14. (Ich kann am
17.Juni nicht). Eine nur teilweise teilnahme sollte kein problem sein.
Ort koennte, ie nach interesse von leuten aus verschiedenen regionen,
zb. Kremsmuenster (GH "König" ehem. Schmidthaler) oder der grossraum
Wien sein.
Ich denke an, ie nach lern-tempo etwa ein stueck pro stunde, stuecke,
von denen ich weiss, dass sie zwar schon von dem einen oder anderen
gespielt werden die aber keinesfalls schon "szene allgemeingut" sind
(nicht: Alperer mit Boarisch), als quelle werde ich die "Leirer-Taenze"
und anderes von mir gesammeltes noten-material heran ziehen.
Teilnehmen koennten nicht nur drehleier-spieler sondern auch andere
instrumentalisten, Geiger oder Sackpfeifer zum beispiel, die stuecke
werden im wesentlichen in G eingelernt (G-bordune und eventuell
G-schnarre erwuenscht), tonumfang nicht mehr als ein einhalb oktaven.
Natuerlich kann ich nur drehleier-spielern bei fingersaetzen und
dergleichen weiter helfen. Wer an dem kurs teilnehmen will, muss
natuerlich an sich imstande sein flotte tanzmusik-stuecke auf seinem
instrument zu spielen, ein instrumental-unterricht im engeren sinn ist
nicht vorgesehen.
Ich stelle mir pro teilnehmer und tag ungefaehr 500 ATS teinehmer
beitrag vor (8EH/d) bei einer gesamt teilnehmer-zahl von mehr als acht
etwas weniger, gruppen-unterricht, maximal 20 teilnehmer. Unterbringung
wenn notwendig im Gasthof.
Am Samstag abend koennte man natuerlich eine nette session organisieren
wo das erlernte dann gleich noch einmal angewandt werden kann.
Also, sollte dieses angebot auf euer interesse stossen, meldet euch
bitte bei mir, auch wenn zum beispiel der termin nicht passt.
mit freundlichen gruessen,
Simon Wascher
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 07:03:17 -0400
From: joseph dinkins <guitarart _at_ naxs.net>
Subject: [HG] reply to Bob
Hello Bob,
I am not very familiar with this technique. Thank you for your
reply. What type of epoxy do you use?
Best wishes
Joe
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 08:31:54 -0700
From: Bob Mackie <rwmackie _at_ revelstoke.net>
Subject: Re: [HG] reply to Bob
I was asking the question for future reference. There
may be purists out there on this list who would not think
of building hurty gurdies with fiberglas cast bodies, similar to
those that the Ovation guitar company first introduced
about thirty years ago.
cheers
Bob Mackie
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 20:00:57 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: Re: [HG] reply to Bob
Hello,
Bob Mackie wrote:
(...) building hurty gurdies with fiberglas cast bodies, similar to
> those that the Ovation guitar (...)
I tried such an instrument about eight or nine years ago in St.Chartier,
'think it was made by a french maker.
Simon Wascher - Vienna, Austria
= = = = = = = = = = = = =
Date: Tue, 29 May 2001 23:21:54 -0400
From: zhenya <zhenya _at_ prexar.com>
Subject: Re: [HG] american commercial
Just for the those in America, has anyone seen & heard it? I know the sound
of a Tekero well, having bought 4 CDs from Hungary. I think, though, I
puzzle over this... that the start of a Nisson (car) commercial on tv is a
tekero solo, drones and some soft melody, in C. The commercial runs often
here, on ABC I've saw it tonight, and the visual is a bull fight. (This
letter shall not address the ethics of that.)
The Nisson car drives around kicking up dirt and the Tekero is playing
alone! I think. May be I am loco. But I don't think so.
Then some ordinary music chimes in, some talk (voice over,) then some
singing not too unlike Hungarian style, by a female voice. Well, I suppose
that would be big news. I think so. You'll see a bull, then a Nisson SUV
(jeep-type car), and then listen... Tell me what you think.
Jim.
= = = = = = = = = = = = =
Date: Wed, 30 May 2001 09:53:50 +0200
From: Petra Kuehmichel <Petra.Kuehmichel _at_ t-online.de>
Subject: AW: [HG] reply to Bob
Hello you,
isn`t it Jean- Luc Pleton who builds those Hurdy Gurdies? Unfortunately I
never tried them.
greetings
Petra Kühmichel
= = = = = = = = = = = = =
Date: Wed, 30 May 2001 10:14:39 +0200
From: Simon Wascher <Simon.Wascher _at_ chello.at>
Subject: Re: AW: [HG] tried "Ovation" gurdy (was: reply to Bob)
Hello,
the instrument I tried years ago was not a Bleton ( I remember this
because I tried instruments from all the makers in that year, and know
it was a stand on the park entrance side, and the Bleton stand was on
the other side of the park then).
Simon Wascher - Vienna, Austria
= = = = = = = = = = = = =
Date: Wed, 30 May 2001 06:02:36 -0400
From: Judith Lindenau <judith _at_ taar.com>
Subject: [HG] Ensemble Eduard Melkus version of L. Mozart's Die
Bauernhochzeit
There's also a version performed by the Capella Savaria,
conducted by Pál Németh. The CD is entitled "Musica Curiosa"
(Hungaroton HCD 12874) and also includes Leopold Mozart's
"Sinfonia Pastorella" and Georg Druschetzky's "Parthia auf
Bauerninstrumenten" - a very wild piece of music, indeed.
The hurdy-gurdy in "Bauernhochzeit", played by Pál
Havasréti, is very audible, as are the yelps and gunshots!
Here's the first movement in Realaudio format:
http://janusmuseum.org/audio/wedding.ram
Apologies for the lengthy delay in responding - none of my
posts seem to be getting through.
Allan Janus
= = = = = = = = = = = = =
Date: Wed, 30 May 2001 14:46:23 -0700
From: R. T. Taylor <rtaylor _at_ amp.csulb.edu>
Subject: [HG] Fw: French & Breton Music & Dance Camp 2001
I am forwarding this post form Alan Keith.
3 great Hurdy Gurdy teachers will be at this camp in June.
r.t.
----- Original Message -----
From: "Alan Keith" <mr-reeds _at_ home.com>
Sent: Thursday, May 24, 2001 5:20 PM
Subject: French & Breton Music & Dance Camp 2001
> Salutations fellow French and Breton dancers, musicians,
>
> It's been quite a while since I made my last advertisement concerning
> this year's upcoming camp, and I'd like to point out that there's
> been some important and exciting changes in the personnel line-up,
> event scheduling and registration offerings. Go to the camp website
> to see them:
>
> http://www.goodthyme.com/camp
>
> Now, if you're new to the list, or missed this the first time around,
> I'd like to tell you about this *fabulous* event (in it's second
> year) that will take place at the beautiful Mendocino Woodland's
> Family Camps in Northern California, USA. Here's the updated
> information:
>
> French and Breton Summer Traditional Music And Dance Camp, June
> 24-July 1, 2001.
> An eight day celebration of French and Breton music, dance, language
> and cuisine. Instruction for all levels in French and Breton music
> and dance.
>
> Special guest artists/instructors - direct from France:
> *Christophe Tellart ('Percival', 'Chavannée') - Baroque hurdy-gurdy &
> Centre France bagpipes
> *Thierry Nouat ('Viellistic Orchestra') - Hurdy-gurdy of central France
> *Jean-Karim Guillemet ('Chiens et Soufflets') - Diatonic accordéon
> technique and repertoire
> *Basil Bremaud ('Les Brayauds') - Fiddle technique and tunes of the
> Artense and Auvergne
>
> We are also pleased to have these folks as instructors:
> Cliff Stapleton ('Blowzabella') - hurdy-gurdy workshop
> Gary Breitbard - dances of central France.
> Ray Price - dances & music of Brittany.
> Holly Tannen - French language through song. French poetry
> and many others...
>
> Fly, drive, cycle, walk or crawl to this event. It's not to be
> missed! Be sure to check out the website for more information and a
> registration form:
>
> http://www.goodthyme.com/camp
>
> or contact:
>
> Debra Dawson, Camp Director
> P.O. Box 975, Mendocino, CA 95460, U.S.A.
> telephone/fax: (707) 964-0509
> email: Goodthym _at_ mcn.org
>
>
> Merci beaucoup!
>
> a bientot (a le camp) :-)
>
> Alan Keith
>
= = = = = = = = = = = = =
Date: Wed, 30 May 2001 22:31:26 EDT
From: DBur333333 _at_ aol.com
Subject: Re: Re: [HG] american commercial
So I wasn't dreaming. It was a hurdy-gurdy in that (silly) Nisson ad. I was
wondering if anyone else had heard it. I guess hurdy-gurdys have finally
made the big time.
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