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limerickearlymusic
Ireland
Приєднався 23 чер 2020
Keening
Keening
Composed by Evangelia Rigaki
Yonit Kosovske, harpsichord
The word "keening" originates from “caoineadh”, the Gaelic word for weeping or wailing. Many cultures around the world have ancient keening rituals involving emotionally-charged, dramatic vocalisations that express mourning and grieving.
Keening, Evangelia Rigaki's composition for solo harpsichord, calls for a variety extended techniques: Ebow, pizzicato, string glissando, knocking on wood, humming, vocalising, wailing, slapping the chest, and lying over the strings inside the harpsichord. These techniques produce a variety of unique sounds and theatrical gestures, evoking powerful emotions, images, memories, and symbolic references.
Rigaki's composition was commissioned in 2024 by Janet Oates as part of her transnational project "Inventions: The Harpsichord Across Time and Borders", made possible with funding from Arts Council England, Creative Scotland, Sound Festival (Scotland), The Marchus Trust, The Hope Scott Trust, Mary Cooke, and The Francis Louth Trust, as well as Shanker and Mellicent Singham from the Competere Foundation.
As part of Oates' Inventions project, the first live performances of Keening were premiered throughout the autumn of 2024 by three harpsichordists in three different countries: Yonit Kosovske (Ireland), Tiffany Vong (Scotland), and England (Katarzyna Kowalik). Kosovske was so moved by Rigaki's composition that she felt inspired to create a performance of Keening for screen.
Yonit Kosovske, video artistic direction
Ilani Smishkewych Kosovske, film and audio recording
Vlad Smishkewych (Now and Then Media, Ltd.), editing and mastering
Recorded in County Tipperary, Ireland
Now and Then Media, Ltd.©2024
Composed by Evangelia Rigaki
Yonit Kosovske, harpsichord
The word "keening" originates from “caoineadh”, the Gaelic word for weeping or wailing. Many cultures around the world have ancient keening rituals involving emotionally-charged, dramatic vocalisations that express mourning and grieving.
Keening, Evangelia Rigaki's composition for solo harpsichord, calls for a variety extended techniques: Ebow, pizzicato, string glissando, knocking on wood, humming, vocalising, wailing, slapping the chest, and lying over the strings inside the harpsichord. These techniques produce a variety of unique sounds and theatrical gestures, evoking powerful emotions, images, memories, and symbolic references.
Rigaki's composition was commissioned in 2024 by Janet Oates as part of her transnational project "Inventions: The Harpsichord Across Time and Borders", made possible with funding from Arts Council England, Creative Scotland, Sound Festival (Scotland), The Marchus Trust, The Hope Scott Trust, Mary Cooke, and The Francis Louth Trust, as well as Shanker and Mellicent Singham from the Competere Foundation.
As part of Oates' Inventions project, the first live performances of Keening were premiered throughout the autumn of 2024 by three harpsichordists in three different countries: Yonit Kosovske (Ireland), Tiffany Vong (Scotland), and England (Katarzyna Kowalik). Kosovske was so moved by Rigaki's composition that she felt inspired to create a performance of Keening for screen.
Yonit Kosovske, video artistic direction
Ilani Smishkewych Kosovske, film and audio recording
Vlad Smishkewych (Now and Then Media, Ltd.), editing and mastering
Recorded in County Tipperary, Ireland
Now and Then Media, Ltd.©2024
Переглядів: 195
Відео
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¡Fandango Ardiente! by Sheli Nan (arranged for two harpsichords by David Vine) Performed live in concert at the Limerick Early Music Festival 2023 @ the Belltable Yonit Kosovske & Rachel Factor, harpsichords Simon Woods, videography Carla Esteban Vinseiro / Karu Veenbahn, video editing limerickearlymusic.com
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Libertango by Astor Piazzolla (arranged for two harpsichords by Malachy Robinson) Performed live in concert at the Limerick Early Music Festival 2023 @ the Belltable Yonit Kosovske & Rachel Factor, harpsichords Vlad Smishkewych, percussion Simon Woods, videography Carla Esteban Vinseiro / Karu Veenbahn, video editing limerickearlymusic.com
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📆 24 - 26 March 📍 St. Mary's Cathedral and Belltable, Limerick 🎼 Festival programme - limerickearlymusic.com/ 🎟️ bit.ly/LEMF23tickets
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What do harpsichord, contemporary music, and a Lesser Horseshoe bat all have in common? Watch the video to find out! 🦇 📆 26 March at 1pm 📍 Belltable 🎟️ Grab your ticket! ➡️ bit.ly/LEMF23tickets
Music & Photography - "Corrente" from the Partita in A minor for Solo Flute by Johann Sebastian Bach
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Teddie Hwang, baroque flute and photography Following her film of the "Allemande" from the Partita in A minor BWV1013, flutist Teddie Hwang presents the second movement "Corrente" along with her landscape photography. She also shares her thoughts about the piece, along with her concepts behind the imagery. Be sure to check out Teddie's film of the "Allemande" here @limerickearlymusic: ua-cam.co...
Hurdy-Gurdy Concert&Course with Tobie Miller and Ariel Ninas | December 2022
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She shouldn't play the baroque violin if she can't hold it...
Amazing
I prefer (next to the modern flute) the renaissance flute above the baroque flute which always sound woolly and a bit "off".
wonder where i can get one
Wonderful! ❤ The Fugue is fantastic on recorders and I really like all these beautiful articulations in the next piece How do you manage to have them so clean on bass recorders? 🥲
So very beautiful
Could you tell us the make/model of this harp? Thank you.
Beautiful in it's simplicity. I'm sure the harpers back then loved their music as we harpists love our more complicated harps of today!
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!! ❤