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Klassiek Het Nederlands Kamerkoor en Amsterdam Sinfonietta toeren door het land met een nieuw arrangement van Rossini’s ‘Petite messe solennelle’. Ondanks dat het charmante harmonium af en toe het onderspit delft, is het muziek om geen genoeg van te krijgen.
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Gioachino Rossini's Petite messe solennelle (Little solemn mass) was written in 1863, possibly at the request of Count Alexis Pillet-Will for his wife Louise to whom it is dedicated. The composer, who had retired from composing operas more than 30 years before, described it as "the last of my péchés de vieillesse" (sins of old age).
The extended work is a missa solemnis, but Rossini ironically labeled it petite (little). He scored it originally for twelve singers, four of them soloists, two pianos and harmonium. The mass was first performed on 14 March 1864 at the couple's new home in Paris. Rossini later produced an orchestral version, including an additional movement, a setting of the hymn "O salutaris hostia" as a soprano aria. This version of the mass was not performed during his lifetime because he could not obtain permission to perform it with female singers in a church. It was first performed three months after his death, at the Salle Ventadour in Paris by the company of the Théâtre-Italien on 24 February 1869.
While publications began that year, the first critical edition appeared only in 1980, followed by more editions in 1992, the bicentenary of the composer's birth.
Harmonium Vadak
Organiser : Alankar Musical Group Contact Us +91-9214068278/+91-8290365050 Or Mail Us info@alankarmusicalgroup.com
GREEKADELIA - 22.2.2015 - Jazzit Musik Club Salzburg - www.jazzit.at - weitere Fotos unter:
Moito se movía esta lagartixa, non foi doado tirar a foto. Finalmente cansou.
Música: "Music for a found harmonium" da Penguin Cafe Orchestra.
www.goear.com/listen/be0cb59/music-for-a-found-harmonium-...
The majestic, surreal inside flow of an Arctic iceberg. Or, as one visitor to my website, www.arctic-photo.com/ noted, "Antelope Canyon with a blue filter".
The Liszt Ferenc Memorial Museum in Budapest is a reconstruction of the apartment that Liszt lived in during the last six years of his life. This is where he taught. On the right is a Chickering concert grand made especially for Liszt, with a smaller Boesendorfer (a gift from the piano maker) on the left. At the far left is an American concert harmonium (organ with pedal bellows).
HDR from 3 exposures tone-mapped in Photomatix.
Cirque Éloize
St-Denis
Titre : L’échorégraphie
Photographe : Benoit Z. Leroux
Acrobate : Angelica Bongiovonni
Année : 2019
Dimension : 30X24
Lieu : Théâtre St-Denis
Spectacle : Seul ensemble (Cirque Éloize)
Costume : Marilène Bastien et Genevieve Bouchard
J'ai profiter de mon heure de dîner de ma "vrais job" pour courrir au Saint-Denis assister à quelques numéros de "Seul Ensemble" présenté spécialement pour les médias. J'ai été rivé à mon siège ! Généralement quand je fais de la longue exposition, c'est en studio, avec un trépied ou je controle l'éclairage, mais cette photo a été faite à main levée avec une exposition de 0.6 seconde.
Whilst rooting around a yard with loads of rusting cars, vans etc. I saw an old refrigerator that I wanted to look closer at. In front of it was a rotten tent covering something, so I pulled the tent away, only to find this beautiful antique pump organ. Unfortunately it is in a very sorry state and cannot be saved, but I was quite taken by it.
The pump organ or harmonium is a type of reed organ that generates sound with bellows.
More portable than pipe organs, reed organs were widely used in smaller churches and in private homes in the 19th century, but their volume and tonal range are limited, and they generally had one or sometimes two manuals, with pedal-boards being rare. The finer instruments have a unique tone, and the cabinets of those intended for churches and affluent homes were often excellent pieces of furniture. Several million reed organs and melodeons were made in the U.S. between the 1850s and the 1920s. During this time Estey Organ and Mason & Hamlin were popular manufacturers.
Christian Gottlieb Kratzenstein (1723â1795), professor of physiology at Copenhagen, was credited with the first free-reed instrument made in the Western world, after winning the annual prize in 1780 from the Imperial Academy of St. Petersburg. The harmonium's design incorporates free reeds and derives from the earlier regal. A harmonium-like instrument was exhibited by Gabriel Joseph Grenié (1756â1837) in 1810. He called it an orgue expressif (expressive organ), because his instrument was capable of greater expression, as well as of producing a crescendo and diminuendo. Alexandre Debain improved Grenié's instrument and gave it the name harmonium when he patented his version in 1840. There was concurrent development of similar instruments. A mechanic who had worked in the factory of Alexandre in Paris emigrated to the United States and conceived the idea of a suction bellows, instead of the ordinary bellows that forced the air outward through the reeds. The firm of Mason & Hamlin, of Boston, in 1860 made their instruments with the suction bellows, and this method of construction soon superseded all others in America.
Harmoniums reached the height of their popularity in the West in the late 19th and early 20th centuries. They were especially popular in small churches and chapels where a pipe organ would be too large or too expensive. Harmoniums generally weigh less than similar sized pianos and are not as easily damaged in transport, thus they were also popular throughout the colonies of the European powers in this period not only because it was easier to ship the instrument out to where it was needed, but it was also easier to transport overland in areas where good-quality roads and railways may have been non-existent. An added attraction of the harmonium in tropical regions was that the instrument held its tune regardless of heat and humidity, unlike the piano. This "export" market was sufficiently lucrative for manufacturers to produce harmoniums with cases impregnated with chemicals to prevent woodworm and other damaging organisms found in the tropics.
At the peak of the instruments' Western popularity around 1900, a wide variety of styles of harmoniums were being produced. These ranged from simple models with plain cases and only four or five stops (if any at all), up to large instruments with ornate cases, up to a dozen stops and other mechanisms such as couplers. Expensive harmoniums were often built to resemble pipe organs, with ranks of fake pipes attached to the top of the instrument. Small numbers of harmoniums were built with two manuals (keyboards). Some were even built with pedal keyboards, which required the use of an assistant to run the bellows or, for some of the later models, an electrical pump. These larger instruments were mainly intended for home use, such as allowing organists to practise on an instrument on the scale of a pipe organ, but without the physical size or volume of such an instrument. For missionaries, chaplains in the armed forces, travelling evangelists, and the like, reed organs that folded up into a container the size of a very large suitcase or small trunk were made; these had a short keyboard and few stops, but they were more than adequate for keeping hymn singers more or less on pitch.
The invention of the electronic organ in the mid-1930s spelled the end of the harmonium's success in the West (although its popularity as a household instrument declined in the 1920s as musical tastes changed).
Finally got my first Rhodes, she's a beaut!
I just got a keyboard table/stand for it to lift off some weight off my awesome motor-driven Yamaha Harmonium.
Might be moving out soon to the country-side.. Never know.
My friend Jerry getting his hands on my harmonium. Matron.
45 PCE rotated 45 degrees and tilted forwards
Processing in photoshop - default B&W layer with layer properties set to "overlay".
soundcloud.com/bureau-1/bb227-michel-banabila-early-works
www.discogs.com/Michel-Banabila-Early-Works-Things-Poppin...
Michel Banabila, born 1961, is a sound artist, composer, and producer. Banabila releases music since 1983 and has produced musical scores for numerous films, documentaries, theatre plays and choreographies. This album collects 11 songs from his early years, released on tape, vinyl EPs or limited CD editions: beautiful minimal loop-based electronica, neo-classical pieces and ambient drone music. A true discovery ! (Bureau B)
liner notes:
Numerous threads run through the music of Michel Banabila, whose contemporary work ranges from adventurous electronic cross-breeding of chamber instrumentation, to industrial rhythmic sampling, to outward-bound modular synthesis, to deeply elegiac drones.
What is remarkable about this collection of early pieces is just how many of Banabila’s ongoing fascinations had already taken root, when he was barely half his current age. The child apparently is not merely the father to the man; he is also his music tutor. In particular, there are extended sequences of neoclassical loveliness and dense patches of Fourth World exploration that, matters of specific equipment aside, could have been recorded yesterday. Except that they weren’t.
The classical activity heard here constitutes a romantic attachment to the Old World, filtered through a contemporary sense of proportion. Banabila’s piano, its atmospheric gestures bringing to mind the proto-minimalism of Erik Satie, echoes with a disarming simplicity. The sweetness of the tune masks his determined compositional focus on loop-like repetitions, on the ever so slight variations between pulses, on training the listener’s ear to hear inside the notes, between the notes, to be receptive to matters that are more tactile than tonal. The melody could easily be an additional hundred years old — except for fact that the refined patterning is something that likely only could have been pursued in light of the music of Michael Nyman and Philip Glass. Similarly, a solo harmonium performance circles around a song that could be a maudlin street-corner serenade in a benighted district of a nameless Eastern European city — and yet it has a self-consciousness of the instrument’s breath-like quality that marks it, however subtly, as modern music.
And, of course, this isn’t modern music. This is music several decades after the fact. It is no longer of our time. The equipment on which it was made, notably an early sampler, was limited in various ways, key among them the relatively circumspect set of capabilities, especially in terms of memory storage, and the lack of received performance techniques. The equipment was simple and it was new, and neither factor limited Banabila’s ambition; to the contrary, the tools concentrated his imagination.
If the classical pieces represent the Old World as framed by the new, then the more recognizably “electronic” work here is likewise most at home in a fictional place, an idealized zone. That zone is a quiet neighborhood in the Fourth World, to borrow Jon Hassell’s terminology, one in which digital tools render something that is, for all its technological dependency, ultimately a form of folk music — an otherworldly folk music for another time. At that time and in that place, a percussive guitar figure lends momentum to ethereal synthesized choral vocals. Fidgety percussion plays amid a fierce but restrained guitar line (there are echoes of Laurie Anderson and Adrian Belew). An ambiguous and elongated drone, thick with subliminal activity, beautiful in its toxic anxiety, suggests dire activity on the horizon.
And yet the horizon wasn’t dire. Quite the contrary, what was ahead for Banabila was a long string of releases, a healthy and well-documented career in which so many of these individual threads have been provided time and space to have entire records dedicated to their pursuit. This album of archival works is a document, and what it documents is the continuity inherent in Banabila’s music. It is a map in musical form, and the path it traces is one that crisscrosses back and forth between the Old World and the Next.
Marc Weidenbaum
San Francisco, California
February 2016
Reviews / quotes:
DAMUSIC.BE
De kans dat de naam Michel Banabila een belletje doet rinkelen, is eerder klein. Maar zoek de Nederlandse geluidsdesigner even op bij Discogs en besef dan dat er zomaar eventjes drieënvijftig albums op 's mans naam staan! Voer voor het Duitse label Bureau B dus, dat gespecialiseerd is in het opgraven en afstoffen van lang vergeten opnamen uit het krautrock- en ambientelektronicamilieu!
Filmmuziek, neoklassieke sfeerplaten, repetitieve synthesizerambient, industriëel experimentalisme … noem het en het past wel ergens in het kraam van Michel Banabila. Zoals zijn titel verraadt, grijpt dit album dus terug naar de bron: de huiskamertapes, op viersporen recorder opgenomen muzikale vindsels waarbij minimalisme en atmosfeer versterkt worden door de ruis van de beperkte technische faciliteiten. Het echte spul van in de beginperiode zeg maar, meestal zelfs zonder definitieve titel. Of dat nu gaat over een donker, droevig pianothema dat in al zijn soberheid een erg broos, filmisch gevoel oproept (Piano N° 2) of een drijvend ambientgepingel op synthesizer en gitaar met een wat Oosterse inslag (October), Banabila vindt steeds een mooie esthetiek in eenvoud, warmte en melodie en beroept zich op grote namen als Brian Eno of Erik Satie. Slechts af en toe verlaat de klankcomponist en producer zijn aardse eenvoud om in een ander universum te glijden. Luister maar even naar The Lost Drones Tape No. 3 met zijn ijzige soundscape, reverb, spacebubbels en gekke broebels, dat effectief een stevige trip is richting ander melkwegstelsel. Zelfde verhaal trouwens met The Workers (Des Traces Retrouvées III), een fantasie met krakende samples, verre gitaarhalo’s en een waas van neerdrukking en mysterie. Wat vooral ook in de meest eenvoudige stukken opvalt, waar enkel piano of gelaagd kerkorgelspel op synthesizer een filmische sfeer oproepen, is dat Michel Banabila echt een man van toetsen is en een mooie lyriek in zijn spel legt. Dat verklaart waarom minimalisme en simplisme hier zo sterk overkomen. Het is de voorbode voor de neoklassieke ontwikkeling van de Nederlander. Tegelijkertijd zet het afsluitende The Lost Drones Tape N°.#2 met zijn meer dan acht minuten sfeer en gemoedelijkheid via een flinterdunne drone en zachte droomscapes de weg open naar een mooie ambienttoekomst. ‘Early Works (…)’ biedt een breed inzicht in de beginjaren van deze erg productieve en veelzijdige artiest. Naast een leuk tijdsdocument, is het echter ook een fijne en afwisselende plaat die gerust een keertje extra mag beluisterd worden. (Johan Giglot)
SUBJECTIVISTEN:
Af en toe is het goed om terug te blikken. Veel van zijn eerste muziek is op cassettes, vinyl of gelimiteerde cd’s uitgebracht. Dit overzichtswerk bevat stukken uit zijn beginperiode, zoals van zijn albums Des Traces Retrouvées I en III en The Lost Drones Tapes, alsmede vier niet eerder uitgegeven stukken. In totaal krijg je 11 tracks, die ook nu nog staan als een modern huis en afwisselend drones, ambient, neoklassiek, minimal music en experimentele elektronica laten horen. Het is een prachtige ontdekkingstocht door zijn vroegere werk geworden en waarvan je enkel hoopt dat er nog meer van zal verschijnen. (JanWIllem Broek)
OEDIPE PURPLE:
Alors que son album Marilli figure en bonne place dans notre wishlist, le label Bureau B a eu la bonne idée de ressortir du placard les splendides harmonies de Michel Banabila. Une invitation à la rêverie qu’on ne peut refuser, à l’instar du premier morceau October… On repeat.
NOWAMUZYKA:
Niemiecka wytwórnia Bureau B opublikowała płytę z bardzo rzadkimi utworami Michela Banabily, które powstały na początku jego kariery.
Nie tak dawno recenzowałem podwójny album „Tapu sampler” holenderskiego muzyka, kompozytora i producenta, będący zbiorem jego nagrań z lat 2007-2015. Można potraktować ten materiał jako szybki sprawdzian z tego, co w ostatnich latach prezentował Banabila. W przypadku longplaya „Early Works / Things popping up from the past” cofamy się w czasie jeszcze dalej gdzieś w okolice lat 80., ponieważ z tego okresu pochodzą kompozycje. Przypomnę, że artysta aktywnie działa od 1983 roku. Na „Early Works…” znajdziemy jedenaście różnych utworów nie tylko pod względem brzmienia czy użytych instrumentów, ale przede wszystkim pokazujących szeroki wachlarz możliwości tego utalentowanego kompozytora. W takich fragmentach jak „Harmonium improv #1/improv #2” i „Piano No. #1/#2” można doszukać się – jak trafnie zauważył Marc Weidenbaum w swoim tekście – inspiracji twórczością Michaela Nymana oraz Philipa Glassa. Ale na tym krążku są też takie nagrania, które mogłyby być zarejestrowane dosłownie wczoraj, choćby dwa ambientowe „Des Traces Retrouvées I, No. #4”, „The Lost Drones Tape No. #2” i bardziej eksperymentalne „The Workers”. W lekko etnicznym „A Sharp Silver Line” z kolei mamy solówkę gitarową Banabily bliższą stylowi Adriana Belewa z King Crimson. Niesamowite jest to – jak już wspomniałem – że większość utworów z tego zestawu nie kojarzy się z kiczem lat 80., nawet nie ma przepychu jeśli chodzi o syntezatory, a jak już są to raczej w aranżacjach z pogranicza minimalizmu i muzyki klasycznej. Mimo dużej rozpiętości stylistycznej, „Early Works/Things popping up from the past” słucha się jako całości. (Łukasz Komła)
Desh Mere (Bhuj) - Sargam, Harmonium And Flute Notes
SCALE OF THE FLUTE IS D# BASS/MIDDLE
O desh mere
P..P.D.D.S'.S'...
Teri shaan pe sadke
S'.S'.S'..R'.S'.N.D.N...D.P.
Koi dhan hai kya
P.P.P.D.D.S'.S'...
Teri dhool se badhke
S'.S'.S'..R'.S'.N.D.N...D.P.
Teri dhoop se raushan
P.m.m..m.D..D.P.D...
Teri hawa pe zinda
S'.N.D.D..P.P..P...
Tu baag hai mera
P.m.m..m.D..D.P.D...
Main tera parinda
S'.N.D..D..P.P..P...
Hai arzi deewane ki
G'.R'.S'..S'..S'..S'.N..D..S'..
Jahan bhor suhani dekhi
G'.R'.S'..S'.S'.S'..S'.N.D..D.P.m..
Ek roz wahin meri shaam ho
m..m..m.D.D.. D..N...D..P..P..
Kabhi yaad kare jo zamaana
G'.R'.S'..S'.S'.S'..S'.N..D..S'..
Maati pe mar mit jaana
G'.R'.S'..S'.S'.S'..S'.N.D..D.P.m..
Zikr mein shaamil mera naam ho
m.m.m.D.D..D.. D..N...D..P..P...
O desh mere
P..P.D.D.S'.S'...
Teri shaan pe sadke
S'.S'.S'..R'.S'.N.D.N...D.P.
Koi dhan hai kya
P.P.P.D.D.S'.S'...
Teri dhool se badhke
S'.S'.S'..R'.S'.N.D.N...D.P.
Teri dhoop se raushan
P.m.m..m.D..D.P.D...
Teri hawa pe zinda
S'.N.D.D..P.P..P...
Tu baag hai mera
P.m.m..m.D..D.P.D...
Main tera parinda
S'.N.D..D..P.P..P...
www.notationsworld.com/desh-mere-sargam-and-flute-notes.html
Really cool old harmonium at Treehouse Studios where my band, orange is in is mixing out new CD, Come and Take It.
a child dressed in rajasthani outfit singing beautiful folk songs and playing harmonium altogather, in the jaswant thada compound.
see more MUSIC related images here.
...and birdcage, spinningwheel, bible and much more.
113 pictures in 2013, #108 Musical Instrument.
Ambachts- en gereedschapmuseum "De Holle Roffel" te Kruisland (N.B.)
The museum isn't open yet, everything has to be re-arranged for the opening in april. After that it looks totally different!
(best viewed in Large)
Once one of the many antique dealers of the famous Achterhoek antique route (largest in Europe).
This route goes from the city Doesburg all the way to Anholt (Germany), passing towns like Doetinchem, Gaanderen, Terborg, Ulft and Gendringen. It’s a popular site for tourists, mainly from Holland and Germany. According to a persistent rumour even popstar Michael Jackson bought his antique furniture here.
Nowadays many of these antique dealers quit their business or move elsewhere, often leaving the buildings in a very poor shape due to many years of neglect. This old factory will be demolished.
This instrument comes from Mumbai (known then as Bombay), in India. It is a type of reed organ known as a harmonium. The design on the top features a swastika, which was a positive symbol in the area for nearly 5,000 years before being co-opted by the Nazi Party.
Accession Number: 1974-13-0001
Location: Mumbai, India
Date: pre-1956
Creator: D S Ramsingh & Bros
For more information, photo permissions, or higher resolution images, please contact the Mathers Museum of World Cultures at mathers@indiana.edu.
The church is empty, just a few chairs , harmonium and the chancel altar - painted walls , clear glass , brick floor, and plain white washed 18c king post roof beams add the impact of the c1425-50 painted wall scenes
particularly on the 12c north wall discovered by conservator Eve Baker in 1967
The upper tier has images of the 12 apostles flanking a central Christ (recognisable throughout by his flowing hair and forked beard) All hard to decipher - St Andrew's saltire (X) cross can be made out,
Below on a much smaller scale is the passion and resurrection cycle. with alternating backgrounds of white and red .
1. Betrayal of Christ (now lost;
2. The flagellation of Christ
3. Jesus stands before Caiaphas the high priest (in bishop's mitre & one of the guards with 14c helmet) which helped the contemporary worshippers to relate to the scene.
4. Jesus carrying the cross (mostly lost)
5 The crucifixion (now lost )
6. Jesus is removed from the cross by ladder
7. Jesus is laid in the tomb provided for him by Joseph of Arimathea
8. The resurrection (notice the upturned lid of the coffin)
9. The harrowing of Hell holding a cross Jesus leads Adam and others out of the jaws of Hell which is represented by a huge set of teeth
10 Jesus tell Mary Magdalene not to touch him despite her joy at finding him
11. St Thomas puts his hand into the side wound of Jesus - the first painting to be discovered and also the best preserved
12. The ascension (a series of heads look up as Christ ascends to Heaven )
The highly sophisticated scenes are painted on a very fine layer of rich plaster which covers another coarser base layer , and It is thought that these paintings may be the product of the same workshop that produced the Tree of Jess wall paints at nearby Weston Longville. www.flickr.com/gp/52219527@N00/E9771i
Curiously, there are no paintings on the south aisle south wall, but Eve Baker thought it had been prepared for painting, suggesting that something intervened to stop it happening, almost certainly the Black Death outbreak of 1348.
At the time of their discovery, the church was becoming derelict and was in danger of being demolished. However the Norfolk Society's Committee for Country Churches (which became the Norfolk Churches Trust) soon took action. They made the building wind and weatherproof and at the same time the Council for the Care of Churches rescued the astonishing paintings. - Church of St Faith, Little Witchingham Norfolk