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limerickearlymusic
Ireland
เข้าร่วมเมื่อ 23 มิ.ย. 2020
Shalom Aleichem / Separation of Soul & Body / Alchemy
0:10 "Shalom Aleichem" melody by Rabbi Israel Goldfarb (1879-1956)
1:58 "Separation of Soul and Body" by Turlough O'Carolan (1670-1738)
3:22 "Alchemy" by Tal Arbel
Sarah Groser, bass viol
Yonit Kosovske, harpsichord
Vlad Smishkewych, hurdy-gurdy
"Alchemy" was composed by Tal Arbel in 2022 for Yonit Kosovske. This performance was a world premiere, which took place at the 2023 Galway Early Music Festival in the Mick Lally Theatre as part of a concert titled "Body and Soul" featuring Caitríona O'Mahony (Baroque violin), Sarah Groser (viola da gamba), and Yonit Kosovske (harpsichord) in a programme comprised of contemporary works by living composers.
"Alchemy" - a name that represents the merging of the two melodies in this piece: "Separation of Soul and Body" and "Shalom Aleichem" (Peace be upon you). "Separation of Soul and Body" is a tune by the Irish composer and harper Turlough O'Carolan and is found in Neal’s Celebrated Irish Tunes, Dublin (1724). "Shalom Aleichem" is a Jewish song (in Hebrew) about angels and is traditionally sung on the sabbath eve (Friday night). While the melody originated just over 100 years ago by Israel Goldfarb (published in The Jewish Songster of 1918), the Hebrew poem was written by the mystics (kabbalists) in Safed around the late 16th or early 17th century. The two melodies are cited fully in the middle of the piece, but mostly they are intertwined together, presented in fragments that include elements of both. In our concert, we prefaced Arbel's "Alchemy" by first playing through the two tunes ("Shalom Aleichem" & "Separation of Soul and Body"), followed by our performance of her contemporary composition.
Special thanks to:
Tal Arbel
Galway Early Music Festival
Arts Council of Ireland
Galway City Council
Mick Lally Theatre
Maura Ó Cróinín
Mark Keane
Irish Early Music Network
Now and Then Media, Ltd.
Vlad Smishkewych: camera, audio recording, editing
Ilani Smishkewych Kosovske: 2nd camera
1:58 "Separation of Soul and Body" by Turlough O'Carolan (1670-1738)
3:22 "Alchemy" by Tal Arbel
Sarah Groser, bass viol
Yonit Kosovske, harpsichord
Vlad Smishkewych, hurdy-gurdy
"Alchemy" was composed by Tal Arbel in 2022 for Yonit Kosovske. This performance was a world premiere, which took place at the 2023 Galway Early Music Festival in the Mick Lally Theatre as part of a concert titled "Body and Soul" featuring Caitríona O'Mahony (Baroque violin), Sarah Groser (viola da gamba), and Yonit Kosovske (harpsichord) in a programme comprised of contemporary works by living composers.
"Alchemy" - a name that represents the merging of the two melodies in this piece: "Separation of Soul and Body" and "Shalom Aleichem" (Peace be upon you). "Separation of Soul and Body" is a tune by the Irish composer and harper Turlough O'Carolan and is found in Neal’s Celebrated Irish Tunes, Dublin (1724). "Shalom Aleichem" is a Jewish song (in Hebrew) about angels and is traditionally sung on the sabbath eve (Friday night). While the melody originated just over 100 years ago by Israel Goldfarb (published in The Jewish Songster of 1918), the Hebrew poem was written by the mystics (kabbalists) in Safed around the late 16th or early 17th century. The two melodies are cited fully in the middle of the piece, but mostly they are intertwined together, presented in fragments that include elements of both. In our concert, we prefaced Arbel's "Alchemy" by first playing through the two tunes ("Shalom Aleichem" & "Separation of Soul and Body"), followed by our performance of her contemporary composition.
Special thanks to:
Tal Arbel
Galway Early Music Festival
Arts Council of Ireland
Galway City Council
Mick Lally Theatre
Maura Ó Cróinín
Mark Keane
Irish Early Music Network
Now and Then Media, Ltd.
Vlad Smishkewych: camera, audio recording, editing
Ilani Smishkewych Kosovske: 2nd camera
มุมมอง: 501
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This is so sick dude, all of these people are amazing
Why are lots of the pipes in the treble missing?
Thank you for an excellent exposition of this class of instruments.
Fascinating. I didn't expect so many types of articulations, even some spiccato. Beautifully played.
Wonderfully informative and well-presented!
Nice description of the Renaissance guitar and a lyrical, sensitive performance of Beati Quorum. Regarding the Ukulele, the baritone member of this family is tuned just like the Renaissance guitar: DGBE, corresponding to the four upper strings of the modern guitar. With this instrument you can play any of the Renaissance guitar literature with little scordatura needed. The publication "Guitar Music of the 16th Century" by Keith Calmes contains a whole library of pieces--almost 300 pages worth! It also has the piece, Beati Quorum, which you played so well. All the music is printed in standard music notation.
Wow beautiful
This slaps it's a bop... rock on ❤
But don't you have to have exceptional, athletic lungs even to think of playing such an instrument? How many people were actually able to play this flute during the Renaissance? Probably not very many...
The recorder was the flute of the 17 and the 18th century. Imagine playing these entries by memory. It's not the only arrangement of the Bach. RED Priest do it too. Wonderful ensemble playing.
The viola was invented first, violin wasn't invented until 1564. Viola is the Italian word for viol? Violino is the Italian for little viola. Nowadays viola players are ridiculed unfairly as they are very musical and skilled players.
beautiful sound
I wish I could buy one but I'm poor :)
I now know what a 12th century camera zoom sounded like. I’m kidding. Very beautiful video, thank you! 🙏
The algorithm led me here, and I am delighted it did so.
wonderful
Lovely playing. Who says you need vibrato? Or keys.
The articulation is so wonderful. Intonation is superb. Love your arrangements and the size of the groups memory chips. Wonderfully done songs.
It might have some advantages over the modern pedal harp 👀
Endlessly inspiring. You say it ALL , with one note.
An organ is made of a bunch of recorders. And some gemshorns. There is a gemshorn stop on historic organs.
This rocks
Medieval / Renaissance traverso are definitely on my short list of instruments i would love to have
Thank you so much Maestro Lawrence ❤
Is this the flute that became the irish wooden flute?
Не совсем. Ирландская флейта происходит от до-Бёмовских английских флейт 19 века. Это конические флейты с довольно крупными игровыми отверстиями. Ренессансные флейты - цилиндрические, с маленькими игровыми отверстиями, с относительно толстыми стенками. Их звук более тихий и мягкий, чем у более поздних флейт.
@@MsAraAra I can't read that language. Could you say type it in English? I am interested in seeing your answer.
@@menoftheclothKTOG Oh, I'm sorry. Irish flute is descended from 19th century pre-Boehm English flutes. These are conical flutes with large playing holes. They had 2 to 8 keys, but irish folk musicians removed them. There were many varieties of such flutes, but now this variety is reduced to a few main types of Irish flutes (like _Pratten_ and _Rudall_and_Rose_) Renaissance flutes are cylindrical, with small playing holes and small embouchure, and relatively thick walls. Their sound is quieter and softer than that of 19th century flutes. However, we must remember that the timbre of the flute always depends very much on the individual technique of the flutist. You can play softly and gently on the Irish flute, although it is not in the tradition of Irish folk music. However, you are unlikely to get a powerful and resonant "Irish" sound on a Renaissance flute.
@@MsAraAra Wow! If you only knew how long I have wondered about this and never have heard an answer. Thank you so much.
Estupenda interpretacion❤
Fantastic, all without music stands. Wonderful.
bravooo!
eXtraordina😃ry!
This is so wonderful!
That harp sounds absolutely amazing
Beautiful. The much aligned recorder really shines in this wonderful performance.
!!!
Thank you
THANK YOU,I THANK GOD FOR YOU...THAT PLAYING...SIMPLY DIVINE
Magnifique Maestras quel travail. Impressionnant !
beautiful, but why so fast?
Why not? It's awesome!
Because ... They Can!
Brilliant! Thanks for sharing.
I have little interest in the modern flute, but this is heaven. Thank you for this wonderful introduction to the instrument!
I wish someone would tell me how to thickness a soundboard. I liked your video. My son has painted my instruments. He has the talent. I have a 1720 Dulcken and am making an Italian virginal.
There are sources in various books (Hubbard's Three Centuries fo Harpsichord Making, Ford's Making Msical Instruments), but a great deal of online resources. An intersting one is the online-documented story of a self-taught builder in www.harpsichordproject.com/. He sells an EBook of the process, and there are various videos. Here's the soundbaord section from the adventure when it was still n the NCwoodworker forum: ncwoodworker.net/forums/index.php?threads/harpsichord-project-part-14-building-the-soundboard.19183/ Plus photos from another fellow's process: npcarey.wordpress.com/2019/06/22/the-soundboard/ Best of luck to you!
Grande performance.
So wonderful!! ❤
TH-cam = Censorship!
That’s actually pretty metal. I bet it could shred!
Indeed it can! 🤘🤘🤘Thanks so much
Bravo
Excellent !
Renaissance flute sounds pure and true unlike the somewhat muddled woolly baroque traverso.
Beautiful. -What is the intro piece called?- Where find I this specific recording in full?
Chaconne in D-minor, by Louis Couperin.
Hello my dear. It's possible to play the continuo part with a Spanish baroque harp? Thank you.
Yes, definitely! Spanish continuo treatises specify harp and organ as options, cf. José de Torres' 'Reglas generals de acompañar...': www.bne.es/es/colecciones/partituras/tratados-musicales/reglas-generales-acompanar-organo-clavicordio-harpa
OTTAVINO I get so many enquiries about this instrument, that I’m offering this information sheet. I hope that this answers your queries! Q. Can you sell me one? A. Sorry - I no longer make instruments. I made eight of them, but sold them all, keeping one back for myself. I have put you on the list of enquirers. I have tried to get another craftsperson to make them to my design, but so far, with no success. All my ottavinos sold for around £5,000. Q. Do you know where I could buy one? A. Sorry - no. Q. Do you have plans which I could use? A. No. You can buy plans of the original 17thC instrument from which I worked, from Marc Vogel, Jestetten, Germany. But my design made some changes. Q. How does it work? A. Just like a normal spinet, but much smaller, since it is pitched an octave higher. The action is a conventional one, using historical, simple jacks and plectra. Q. Does it have dampers? A. Only in the bass. The original has no dampers at all. Q. What wood is your instrument made of? A. Cedar of Lebanon, with a Spruce soundboard. The rose is made and sold by Marc Vogel. The keyboard is topped with Boxwood, with Ebony sharps. History: The ottavino seems to have been very common in Italy, in the 17th and 18th centuries. Although it works beautifully as a solo instrument, Dr. Burney, writing about his European tour towards the end of the 18th century, mentions that the Italians used it more commonly than most other types of harpsichord or spinet, mostly for accompanying the voice.
Thanks for the info! Some ottavinos (ottavini?) have the register along the back of the soundboard, allowing for slightly longer key levers. Here the balance point is really close to the back of the key pallets! not a problem though, as the historic way of playing doesn't involve advancing deep into the keyboard. I wonder if any has been made not with a "see-saw" system but with a hinge at the end of the key lever (which could in that case be longer, up to the back of the instrument) . The jack would then go down, not up. Of course the key would need a spring to come up. Some positive organ keyboards are made that way, if the chest is under the keyboard…