Find great deals on eBay for rameau harpsichord. Shop with confidence. Skip to main content. Harpsichord Works - Rameau/Couperin CD ELVG See more like this. Rameau - Harpsichord Works, Vol 2 - CD 3MVG The Fast Free Shipping. FRENCH HARPSICHORD - Rameau & Dandrieu Suite rare Vinyl Lp 1972 Ex. The most complete private library of music scores for organ and harpsichord. Published rare scores of organ and harpsichord music with Armelin Musica of Padova (www.armelin.it) and with the sheet music world center: 'Free-scores.com'.
Contents. History It was commissioned by in 1970 and designed and built by kinetic sculptor. A photograph shows a pencilled note on a whitewashed beam in Emett's barn: 26th August 1970 (1/2 Closing Day) construction of the fountain started. Installation commenced late 1972 (the year the Victoria Centre opened) and was completed before 20 February 1973. The foundation stone reads THE VICTORIA CENTRE TIME FOUNTAIN FEBRUARY 20TH 1973 BY EMETT. In its original design, this clock played Gigue en Rondeau II from the E-minor suite of his when striking the hour and half hour. The clock parts were designed.
It is 23ft high and has become an icon of Nottingham. Between its installation in 1973 and 2010, around £250,000 in coins had been thrown into the fountain. Refurbishment In November 2011, local engineer Pete Dexter contacted the Centre management to ask why the clock appeared to be defunct. He was allowed to investigate, leading to his design and build of a new electrical control system for the animation. He also re-instated the original music, replacing an audio cassette tape system with one based on an audio CD. In February 2014, the clock was dismantled by Pete Dexter and technicians from intu Victoria Centre and taken to Croxall and other locations near Tamworth where Pete Dexter and the Rowland Emett Society carried out some initial refurbishment of the parts. In particular the frame was restored to its original configuration by adding many sections of tube, some of which were to raise the height by around 400mm.
This height had been lost through two occasions where the legs buried in concrete had been sliced off to move the clock. The frame colour was restored to aircraft grey-green based on a paint chip discovered during dismantling. Pete Dexter designed and built a mechanical drive for the cobweb wheel, based on original photographs. The clock was assembled as a dry installation in Millennium Point, Birmingham. This formed part of a wider exhibition in Birmingham of the works of Rowland Emett.
After around three months, it was dismantled and put back into storage until December 2014, when the parts were transported back to Nottingham. Between January and June 2015, Pete Dexter and staff at the Victoria Centre carried out significant further renovation. The clock was reassembled on the upper mall north end of the Victoria Centre and officially restarted on 17 June 2015. It sits in a purpose-built basin equipped with a newly designed water system, reinstating a fountain of twelve water jets, as had existed originally. Description It is topped by four silver-white clock faces with golden hands and numerals.
The animated sculpture underneath consists of a sunflower with 36 copper petals, partially obscuring an orchestra of six jewelled players; three squirrels and three birds. At fifteen-minute intervals, a bell strikes followed by a performance; the petals are lowered to reveal the players, the entire orchestra rotates and each player spins on its vertical axis. The music for harpsichord Gigue en Rondeau II plays for around 75 seconds after which the petals are raised and the animation ceases.
A two-metre diameter cobweb wheel carrying jewelled butterflies and frogs rotates continuously during the daytime as does the 'Top Feature' which consists of three arms with jewelled pendants: one is a flying fish ridden by a squirrel, the second is a squirrel pushing a pram with a bird's nest and birds above, the third is a peacock rowing a boat with a squirrel on the rudder. In the middle of the sculpture is a floral bouquet sitting on a large copper leaf, adorned by jewelled birds. The clock originally struck and performed on the hour and half hour but was modified at some point to perform every fifteen minutes. Motive power is provided by four 230 Volt AC Parvalux geared motors (cobweb wheel, Top Feature, petals and orchestra) and two 230 Volt AC Crouzet synchronous motors (going and strike trains). The bell solenoid is powered by 240VDC pulses. Electrical control of the motors is via 12 Volt DC relays.
References.
Whether you're a musician, a newbie, a composer or a listener, welcome. Rules. When submitting a link to a performance, please state the title and composer, and ideally the names of the performers. Memes and other low-content posts about classical music and composers should be submitted to - such posts made here will be removed. Off-topic submissions will be removed. Submissions with 2 or more reports will be auto-moderated.
We do check automoderated posts to make sure nothing was wrongly caught in there, but if you believe your post was wrongly removed, feel free to. Self-promotion is handled on a case by case basis. Standard redditiquette about spam applies. If you're a musician, otherwise active in the sub, advertising your own upcoming concert, that is fine. If you heavily promote your own content and do little else, your posts will be classified as spam and removed. Before posting, consider whether one of our sister subreddits may be more appropriate for your submission. For instance, music identification requests could be posted to, your own compositions to, movie soundtracks to and video game soundtracks to.
The term 'classical music' is somewhat porous. While this sub is not limited to Western classical music – there is no reason not to discuss other classical traditions here - that is currently its main focus. Contemporary music strongly influenced by classical traditions is also entirely appropriate to discuss. Popular music with significant classical influences is also welcome provided that the clear purpose is to consider that music thoughtfully in the context of classical traditions.
Beyond those cases, most popular musical genres are better discussed elsewhere, and posts about them will be removed. Resources. A variety of resources to help you expand your classical knowledge. Contains guides for beginners, an index of important composers and their works, and lists of classical pieces organised by genre, era, and theme. Introductory threads. Other useful links.
(live chat). Or browse them.
I've been caught in the spam filter! If you can't see your post in, you may have been caught in the spam filter.
And we'll have a look. Yeah, but it does accurately describe the article. This seems naive: “But it’s important for my CD to have great photography and a great cover, so it has the same style as a contemporary pop album.To popularise the harpsichord, I have to pay attention to the details.” But this I admire: Rondeau also breaks with classical convention by breaking off to talk to the audience between pieces. He's a very good player. Sharing his passion with his audience by talking to them is going to have a much better effect than having a glamorous album cover. Tell that to Yuja Wang. It's very important to keep appearances and play your looks to the audience, even if you're not a stunner.
This harpsichordist tries too hard, and gives himself up by talking about it. That just-out-of-bed look is hard work for him, keeping his hair that way and trimming his beard just right.
Looked like a bum, but he was way more stylish. However you care to see it, style is also substance, and performers like Glenn Gould wouldn't have the same impact as they did, or have today, if they were ugly, or unkempt. Well, in Bach's day, part of keyboard performance was improvising your own ornamentation to add to the piece (I usually do it the second time through on repeats, but any time is acceptable/common). For example, If you hear Keith Jarrett (who also plays it on harpsichord), he adds his own ornamentation in addition to what Bach specified. (Both Schiff and Gould omit the repeats, but otherwise play as is.) This is more in line with the performance practice of the Baroque era, and is more interesting to boot.