Forum Replies Created
December 1, 2014 at 12:43 am #131
Time for me to get started with bass recorder. Any pointers/books to set me in the right directions?December 1, 2014 at 1:07 am #135
I’m thinking about getting an A 415 Voice Flute. Any recommendation?December 1, 2014 at 1:10 am #136
I have a maple Moeck Rottenburg soprano for sale. About 25 years old. Price $100, plus postage. Send me a Personal Message if you’re interested.December 1, 2014 at 1:13 am #137December 1, 2014 at 5:22 am #159
Margaret Wright OAMParticipant
Have you a sub contra bass in your consort or orchestra?
I suspect there are very few around!December 1, 2014 at 5:30 am #160
My group is far too small for such a grand instrumentDecember 1, 2014 at 5:44 am #161
Margaret Wright OAMParticipant
Yes, the basses are essential to ‘ground’ the music.
Do you know Mrs McGillivray’s bass book?December 1, 2014 at 1:23 pm #162December 11, 2014 at 1:33 am #169
There are a number of folk from Sydney Recorder Soc going. Contact them via their website.December 11, 2014 at 10:42 am #170
I guess that there would be Sydney people going, given that the event is in Armidale NSW. How many people generally attend altogether?December 18, 2014 at 9:44 pm #171
Does anyone know where I could get a copy of a recent edition of Anthony Rowland-Jones’s ‘A practice book for the treble recorder’?December 19, 2014 at 11:35 pm #172January 12, 2015 at 4:31 am #173
Our group (Newcastle Recorder Players) has a contrabass and sometimes a great bass, but not a sub-contra. I don’t even think there were any at the Orpheus Recorder Boutique this year.January 12, 2015 at 5:03 am #174
This year Zana Clarke (organiser) said there were 71 participants in all, which I think may have included tutors. She read out origins at the beginning: there was one from Tasmania, also the Northern Territory and Western Australia, a couple from New Zealand including tutor Kamala Bain, and the rest were from up and down the east coast and SA apart from tutor Maria Martinez Ayerza, who is from Spain. The other tutors were regulars Ruth Wilkinson (Vic) and Hans-Dieter Michatz (NSW), and newcomer Hannah Coleman (Vic). It was a terrific experience, as always. Hans-Dieter was my tutor for technique–fabulous–and Kamala for small ensemble, which was great. Maria took both the large ensembles, which played separately and together at the final concert, and also tutored in the late afternoon Repertoire Raptures.
There are always many different levels of experience and aspiration represented at the course. We get a few children and a number of teenagers, some of them serious and expert like the Leske sisters–people who might go on to be professionals–as well as lots of older people, many of them retirees, who are devoting time and energy to serious and in this case intensive study of the recorder. Zana generally manages to sort people effectively into groups of approximately equal skill levels, so that individuals aren’t bored or discouraged. I’ve attended six of the eight six-day workshops since 2006 (there wasn’t one in 2012) and have always found it tremendously worthwhile.January 12, 2015 at 5:04 am #175
No, but talk to Zana at Orpheus Music.