You are currently browsing The Arbourist’s articles.
The CBC always comes through for me providing this helpful video on things that one just simply needs to know while on the rigorous path to classical musicianship.
The viola/trombone burn is strong with this one. :)
I’m always slightly amused when my atheism gets me categorized as a follower of satan. I mean, it is like the easter Bunny crew getting all wound up and calling out the tooth fairy for just being a children’s story. So we wind up with this:
Yeah. I have to admit, I’m flagging when it comes to the DWR Sunday Disservice – the absolute wrongitude of the magical notion that religion somehow concurring with reality is just so darn obvious. Why does one continue to bang on about such a no-brainer??
Oh yeah… So… See you next week. :(
This D minor effort is one of Scarlatti’s finest Sonatas and also one of his most unusual: it is really a toccata whose focus on repeated notes is said to be an attempt to imitate the sonorities of a mandolin. In addition, it makes considerable demands on the soloist with hand-crossings and other keyboard acrobatics executed at rapid tempos.
Marked Allegro, the work’s opening is striking: the sound world of a mandolin is immediately invoked in the manic character of the repeated notes. Some listeners may identify this rapid-fire, tremolo-like effect more with the guitar, another instrument Scarlatti often imitated in his keyboard works.
The main theme scurries about playfully, but with a sense of urgency in its hyperactivity. The material of the second subject is just as driven, but focuses less on repeated notes, more on heightening the sense of conflict and resolution, but always with elegance, if a breathless elegance. Midway through Scarlatti turns to development of his thematic material, as was his usual course. Here the music maintains the same busy mood in expanding largely on the secondary material, and in those nervous repeated notes as well. Without a doubt this three-and-a-half minute gem is one of Scarlatti’s finest and most challenging sonatas.
It takes dedicated effort to remove these sorts of fiery speeches from the history of women. Oratory like this somehow doesn’t make it into the classrooms, or history lectures. So the lessons need to be discovered, theorized, and fought for in each generation of women making progress glacially slow. Yet we have helpful mnemonics for the British Monarchy, US presidents and Canadian PM’s that we teach to children. Yet nothing for the bold female speakers of the 60’s and 70’s who set their minds to one of the most important projects facing humankind – the dismantling of patriarchy.
Unless you seek information like this out, you won’t be told about it by your choice of news station, you most likely won’t hear it on the radio and I’m almost certain you wont get this in secondary school. The exclusion of feminist history in the mainstream is not an accidental omission, but a tactical choice.
– [Source:Notes from the Third Year]
Let’s work together on this one folks. We should be done this by now.