How is it that I never heard of Petr Wagner, the Czech viol player in this video? This is the best concert I’ve seen online in a very long time.
Gottfried Finger (c1660-1730) was a Moravian composer and viol player from Olomouc, in the present-day Czech Republic. He secured a gig in the court of James II of England, where his first name became “Godfrey.” Around the time that James was overthrown in the Revolution of 1688, Mr. Finger set out on his own as a composer of operas. He died in Mannheim, Germany.
This is a music video for a song from the first, self-titled album by Vieux Farka Touré. He’s the acclaimed musician son of the great Ali Farka Touré. Both hail from the town of Niakunké, Mali, west Africa. (Not far from Timbuktu, actually.)
The video seems to have been shot in Niafunké, and maybe in the capital, Bamako. To me, much of it has a home-movie feel. Enjoy the music.
Following on last Saturday’s videos, here are some Haydn trios for the baryton, viola, and cello. The baryton is a bass viola da gamba with plucked strings concealed in the back of the neck. A skilled performer can bow the instrument in the usual way while also plucking the concealed strings with the left thumb.
We’re told that the baryton is also called viola di pardone because of a charming story that the inventor was a condemned prisoner who won a pardon for devising this unusual viol.
The modern revival of the baryton began with the instrument in the following video: a 1934 copy of a richly decorated eighteenth-century original. This baryton is now in the collection of the Orpheon Foundation, Vienna, Austria, and it has its own webpage. It’s one of the best looking instruments, of any kind, that I’ve ever seen. Continue reading →
In good orientalist fashion, the work lumps together stories of Turks, Persians, and American Indians under the heading of “the gallant Indies.” This dance is from the fourth and final part, “Les Sauvages,” in which the chief’s daughter, Zima, chooses an Indian called Adario for her lover, rejecting the advances of both a Frenchman and a Spaniard. (You can spot the two European rivals in the background toward the end of the dance.) Continue reading →
Here is the first half of the same Jordi Savall concert I posted yesterday. The program opens with three Moorish and Sephardic works performed on the album Orient, Occident, plus another not included on that album. The Follia theme appears in an anonymous 15th-century setting.
I haven’t posted any music videos in a while, so here’s an entire baroque concert. It’s the baroque portion of a program presented by Jordi Savall (viola da gamba) and members of his ensemble Hespèrion XXI.
The stock tune “La follia” (also called “las folias,” “les folies d’Espagne,” etc.) is a theme of this concert. Countless musicians improvised on this simple Iberian melody, which evoked a mood of passionate longing. There’s an entire website devoted to this “most lasting and famous tune in western music.” This MIDI file plays the Follia theme by itself.
Antonio Martín y Coll: Diferencias sobre las folias
Jordi Savall performs variations on the Follia theme for viola da gamba. This Spanish piece dates from the early 1700s. Note the rhythmic back-and-forth between the viol and castanets in the last diferencia. Continue reading →
I have not found myself able to write either about my academic work, local affairs, or the wide world — even as I anxiously watch events unfolding in Iran. What I can offer is a discovery in online music.
Magnatune.com has a certain downloadable album of classical piano music — an album that perhaps could not have been made before music went online, and that some will sneer at. Robert F. Tucios introduces From the Lobby of the Cooper Arms this way:
The piano, a bruised Brambach baby grand, lies at rest in a quiet corner of the still majestic grand lobby of the Cooper Arms, one of a handful of resort high-rise beach apartments and hotels to pop up on the shoreline of Long Beach in the 1920′s. This cool ornate interior serves as a communal living room, echoing with activity and sheltering the building’s residents and visitors from the noise of the world outside.
I descend the elevator, say my hellos and walk to the corner of the lobby, music in hand.