12/26/2023 0 Comments Tunesmith the bardsyoutubeThis idea that slowness leads to a sense of grandeur is often applied as a dramatic device by some conductors. In either case, the mind may automatically ascribe a sense of mass and vastness to something that is (or sounds) slow. Supporting this notion, Newton’s second law of motion, F=ma, implies that in changing a fixed amount of force, mass and velocity are in an inverse relationship, such that an increase of mass is connected with a decrease of speed/velocity, and vice versa (particularly relevant is the mechanics of momentum, a derivative function of F=ma, also known as p=mv). This may be in accordance with an ecological perspective, since most things large in real life tend to also be slow. Yet even if one listens to another rapidly paced account, this time with the modern Leipzig Gewandhaus Orchestra conducted by Riccardo Chailly, the overall impression is not too dissimilar.Īs such, slowness in music can carve out a sense of the broad and immense through taking a deliberate and slow tempo, a dimension of physical magnitude emerges. ![]() One can argue that the lightness so prevalent in Gardiner’s reading may be accounted for by the historically informed performance, with the period instruments and reduced size of the Orchestre Révolutionnaire et Romantique. In contrast to the daring athleticism found in Gardiner’s work, the sound-world shaped through Karl Böhm’s majestically slow vision – one of the last recordings of the great Austrian conductor – calls for weight and the monumental, an aged grandeur that imposes and sweeps with bold conviction. A sense of lightness and urgency prevail, at times resulting in feelings of breathless fury. Sir John Eliot Gardiner’s lively account of Beethoven’s 9th symphony shows how a work can sound when played at an unusually swift tempo (by 20th-century interpretative standards). The apparent impact of slowness in music emerges when one compares interpretations of a piece of work by conductors favouring opposite poles in tempo. While there is plenty of enthusiasm arising from the incisive excitement of scintillatingly brisk performances, beauty that is to be found in the ponderously lasting presents a differing world altogether. Music that unfolds gradually and slowly brings about a unique quality of emotional gratification. Tune into this episode to hear Wetootwaag declared the official, "Podfather of Bagpipery".‘Rain in an Oak Forest’. ![]() He also puts-out regular videos on Facebook: I was flattered at his willingness to come onto Droning On for an interview - he's a wealth of knowledge and I've been extremely excited to share this interview with you, friends! If you didn't already know about his podcast, it's available on most streaming services, here's the website: In this episode we talk about, (and listen to,) a few tracks from an album Jeremy's recent album of awesome old tunes - I highly recommend checking it out: Oyster Wives Rant Wetootwaag,) hosts an excellent podcast where he explores the likely repertoire of eighteenth and early nineteenth century bagpipers, using historic music collections (written for bagpipes or not), and he performs tunes from these collections on Uilleann pipes, Highland pipes and whistles, along with occasional guest musicians. He also plays various whistles, jaw harp, and sundry - plus he speaks Ojibwe, hosts the world's first bagpiping podcast, and is probably a time-traveller. Jeremy Kingsbury is a talented highland, uilleann, border, scottish-small, and otherwise piper.
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