MarkvN

Hi all, The Dahlhoff collection is available online, but it is a bit difficult to find. For your convenience, I’ll insert a link to a copy on my google drive account. It consists of 10 Bücher (e.g. volumes) in one pdf file, some 1370 pages and 241 Mb: https://drive.google.com/file/d/0B6J1H4gAmvwLR2dfTVVkV3FWQTg/view?usp=sharing. I was also given a transcription of the first Buch, made by Jan Kristof Schliep, for further dispersal (6 Mb): https://drive.google.com/file/d/0B6J1H4gAmvwLR2dfTVVkV3FWQTg/view?usp=sharing. I was given these copies for publication on our website, the Lusthof der Muziek (Garden of Musical Delights, http://lusthof-der-muziek.blogspot.nl/), but I never got around to that. On the Lusthof, there are several transcriptions (pdf, abc, musicxml, mp3) of manuscripts with very similar repertoire, such as Starkenborgh and Kloeckhoff. Hope this helps, Mark (Edited typo.)

Crush Call Troubadour

Great thread, thanks! If a piano is tuned with a streched tuning and a concertina is tuned 'mathematically correct', what happens when they play together? Do they still appear to be in tune with each other, even to the sensitive ear? And does it work the same way for the lower and upper range? Mark

Speaking of other instruments that can be a source of inspiration, how about these two fabulous players on the reed organ: Juuri & Juuri (Finland) - Polkat https://www.youtube.com/watch?v=CWbRs6betCE and the same guy, Eero Grundström, playing solo on his travel harmonium (you have to see this!) https://www.youtube.com/watch?v=Go13zRC2qPA Lisa Rydberg & Gunnar Idenstam from Sweden https://www.youtube.com/watch?v=RAjpAY7As4Q By the way, I'm no real expert on the matter, but as far as I understand, 'gammeldans', although it means 'old dance', actually refers to the music from the 1900's - walzes, polkas, schottisch - and not to the older, modal polskas. Two-row melodeon player Erik Pekkari is one of the important figures in the 're-invention' of the genre: https://www.youtube.com/watch?v=Hcymj6_6VxA Mark

New in the Garden of Musical Delights: a transcription in modern music notation of a sizeable Dutch Lute manuscript from around 1600, with a very international collection of songs and dances. Available in pdf, abc, musicXML, myr and computer generated mp3: http://lusthof-der-muziek.blogspot.nl/2011/05/luithandschrift-van-thysius-1595-1630.html

Here's a funny American song from the 1920's, music and lyrics by Con Conrad and J. Russell Robinson: 'They say Leena is the queen of Palesteena, Just because she plays the the concertina' http://www.youtube.com/watch?v=HcLJ_mjGAyQ& Enjoy!

Some of you may remember earlier postings of mine, refering you to the ‘Lusthof der Muziek’ or ‘Garden of Musical Delights’ (http://lusthof-der-muziek.blogspot.com/) [lusthof-der-muziek.blogspot.com/], our website for the dissemination of rare musical sources from the Netherlands and Flanders from the 16th to the 20th century. Over de last couple of months, a lot of new material has been added. Both famous and obscure sources from our folk (and ‘burgher’) history are now available online, often in various digital formats (abc, pdf, mp3, xml) and all free of charge. To give you a taster, some names and titles that will do ring a bell with people who are familiar with the tradition are Balmer, Hanekuijk, Kiers, Speets, de Gruijtters, De Hollantsche Schouburgh and De Nieuwe Hollandsche Schouwburg. Also included are some treasures which until recently had escaped everyones attention, such as three manuscripts bij the family Van Bolhuis, a charming manuscript for keyboard by a guy named Mentjot (a suitable source for arrangements on the concertina, I suspect), the manuscript ‘Musicq Boek 1740’, and several presumably lost volumes and fragments from famous music series that were published in Amsterdam. I hope to reach any Dutch musicians on this forum, but maybe also people who trace their ancestry to the Low Lands, and of course anyone else who might be interested. Please have a look and take advantage of the efforts of our industrious volunteers who produced these transcriptions. The writing is in Dutch, but we installed the Google translator, which should at least give you an inkling of what each source is about (and the dots can do without, obviously). Thanks, Mark

This is very sad news. I never met Kautilya in person, but when I suspected the existence of a rare Dutch music publication from around 1800 in the British Library, he most generously went there to check things out for me. We even talked about this find over the phone (the front page was lacking and the order of the pages was all mixed up, making it hard to decide what exactly we had found.) I’ll admit that I dreaded getting him on the phone, given his linguistic acrobatics on C-net, as mentioned above. But all went well and as it turned out, through his mediation we had uncovered a bit of Dutch musical history that was supposedly lost forever.

It's not perfect quality, but I hope this will suit your needs. https://dl.dropboxusercontent.com/u/4496965/IMG_2137b.JPG (Can't figure out how to uploed it here to the forum) Mark

Oh, and if La Bastringue is chosen TOTM, I hope someone will be able to explain how to do this foot stamping rhytm that is in some of the youtube vids (even if the neigbours won't be pleased me practicing all night... )

Jim, Thank you for the nice pre-selection. From what I understand, the explanation behind the many titles for the 'Boda Valsen' - 'Vals efter Soling Anders' - 'Anna's Vals' is as simple as can be: It was written by Soling Anders from Boda. Search for 'Anna's Vals' on Youtube and you'll find many more versions. But be warned, saccharine accordeons abound...

I've heard that it comes with a 3 minutes and 41 seconds BIG GRIN guaranteed!

One more remark for ttonon, Seeing the formulas I had expected that it would be possible to predict whether a change in the depth of the sound hole from say 2 to 4 mm could have a noticeable effect on the higher partials, even if the exact changes would be difficult to assess. But maybe I'm being naive here.

Hi Ttonon, Thank you for the detailled comments. The depth of the aperture in the action board (your aperture length, sorry, can't get used to view it as length) would actually be quite easy to vary in a physical model: one would only have to add a sort of temporal ringlets underneath the pads, e.g. around the sound holes on top of the action board, to make the holes 'deeper'. I've never understood why the reeds in the middle of the reed pan of a 38-k Jeffries should sound any different from the ones that are lined up along the edges (and the difference is often really obvious). From your theoretical perspective - reed chambers as resonators - there seems to be only one detail that differs consistently for at least some of the inner reeds: the depth of the sound hole, and maybe the positioning of the pad above it. If a substantial part of the sound is transmitted through the wood itself, that would add another variable, but as far as I understand it that's not what you would expect to be the case. Maybe someone will pick up the glove... ? Thanks, Mark

Here I go, my take on the Fiery Clock Face, my first ever recording in cyberspace... It's not yet perfect, but it'll have to do. Played in G on a Wheatstone 30k C/G, recorded with a zoom H-2. http://dl.dropbox.com/u/4496965/Fiery-Clockface-in-G-MarkvN-Wheatstone30k-CG.mp3