Old Wig: a new novel

Van Buskirk’s newest novel, “Old Wig,” is appropriated from online discussions regarding Richard Egarr’s new recording of J.S. Bach’s Goldberg Variations. These entertaining discussions all come from stuffed shirts online who treat Egarr’s recording as controversial because of his choice of tuning and ideas regarding Bach’s “Cantabile” styling’s. Van Buskirk mixed the text through a methodology used on most of his novels, creating confusion, mayhem, and happenstance.

Excerpt:

Goldbergs being released for US tour
Bradley Lehman writes:
A
< live lecture-demonstration might help, though. >
I would be curious to know your top recordings (on harpsichord).
I have seen the positive side, it is very encouraging to hear the same two instruments a month apart they may sound very much the same. Like so much in the simplest keys.
Jan Hanford wrote (March , ):
Brad Lehman stated:
>>Looking back on those archived messages, the topic was apparently a discussion whether the folk song "Mein junges Leben hat ein End" is really part of it "in action." I see Egarr's Goldberg's will feature the discovered Bach's temperament. The second was how he wouplay it if it were accompanied by a keyboard instrument tuned in equal temperament. No chance to hear the E major, a favourite of ours, and this is, in my previous posting does not seem to point to the G-B interval, and the Conrad Henfling (now we know his first name) who carried on rather significant correspondence on the "Listen to the question on whether non-technical listeners to music hear the sea. But, no, I am ordering a copy today.
Thomas Braatz wrote (March , ):
Classicstoday.com review of Egarr's Goldbergs
John Pike wrote (August , ):
Yesterday's live broadcast of BBC 's "Early Music Show" featured harpsichordist Richard Egarr did not come "before" Gould, happy for JS Bach's Goldberg popularity as well.
PS: I really loved the end (aria da capo) and the ease of maintenance. Always behaves smoothly, never has a crisis. Or substitute "car" or "good stereo system" for "pet"....whatever.
Other temperaments fail (sound harsh, or directly ugly) especially in the performance arts its a matter of 'feel' which is difficult to describe precisely what the differences in isolation. It's a good player--which Egarr is--to let the instrument sound tremendous. He, too, has said that some of this musical decision has been building and which are due to other factors. Ultimately, I suspect that you have to disagree about the quodlibet. For me, that was one of the instruments varies, I don't think many people could detect a difference in tuning. But it might be released on March or , or various dates in April, at different places....
Egarr is supposed to be included on the violin, unaccompanied.
There was no doubt some would disapprove of this.
I found a review of Egarr's concert: http://www.nytimes.com////arts/music/egar.html
A point of the WTC, recorded using the Brad/Bach temperament. Initial impressions are extremely favourable. i am concentrating on trying to show off, Frenchifying the Goldbergs, and it did seem that the re-tuning was the most substantial change they made.
So, it's quite possible that listeners do respond to different tuning systems without quite realising it's the tuning compared to equal. I don't think we mere mortals can actually hear the temperament at its most bright and spicy, and I think it's a mess. Oh well. Thankfully I have attempted to demonstrate is only "purporting to be looking at the height of his recordings - I can listen to it I really loved the end of a folksong (the listener can identify most folk-song references immediately upon hearing the sequence of first notes) seems to misunderstand completely what Bach was trying to note the difference in the German language, that "Hänfling" can also be traceable to other factors. Ultimately, I suspect that you still believe that Bach would have allowed his compositional skills to be working. I paste the review below:
At last, thank heaven, the Goldberg Variations, and played several of his powers. Someone asked a question about tuning and which are ascribed to it again; even if coming back to any other non-equal temperament. It turns out, as often happens in the upbeats of Var. .
A word of praise, incidentally, for the cd booklet, is available as a singing style of playing (this implies a more favourable impression overall. I have pasted the main part of the Goldberg Variations recording is available to download at iTunes and emusic.com. >
Thank you for the GV. I think that placing the variations much too quickly. His playing sounds plodding to me. His use of legato jarred me at first. But I can't, for the minor-key variations, and no sentimentalizing of the Ruckers copy instrument. This is an interesting comparison. I am not a musician, just loves listening and will not dare judging as I love Schiff's second recording and Tureck's recording from Egarr that he is beginning to take on a regular basis. But I can't, for the GV. I think I am beginning to detect it. It is sort of thing should be done more often to help people understand what lies behind the music.
bwv_ wrote (March , ):
Richard Egarr's new recording of the different variations. It is very encouraging to hear the difference that makes in the second time - when I was also disappointed after a first listen to the sound of the bar. This can be a Procrustean bed for the GV. I think that placing the variations live in the variations. >>
Anne Russell wrote:
< . The tempi variations and (relatively discreet) use of legato jarred me at first. But I can't, for the correction. I meant "rubato" not "legato."
Bradley Lehman writes:
A
< live lecture-demonstration might help, though. >
I do agree with Egarr that he is beginning to detect it. It makes both the music while playing it.... Other temperaments fail (sound harsh, or directly ugly) especially in the Bach Ciaccona with the stateliness of that presentation. Now, some excerpts from that informal dialogue have become enshrined in Harmonia Mundi booklet notes. Hmm. Well, at least for me as a BCW page purporting to be obvious, or to call any attention to itself: but merely to reveal the music and instrument with beautiful sounds. It catalyzes excellent performers to give outstandingly sensitive performances, listening closely to the sound of the bar. This can be ordered through ArkivMusic as an artistical means" etc. The most such
listeners are able to do, is to identify a singer singing out of tune :)
I must say that if there wouldn't be one secured copy of Christophe Rousset's Goldbergs (for a reasonable price) for a first listen to on a regular basis. But I can't, for the insert-notes, which in their own experiments than in what the differences in isolation. It's a good thing this was quite a disappointment.
Donald Satz wrote (March , ):
bwv_ wrote:
< As for Peter Watchorn's recording are really excellent. I know a disc is in stock, because "advance order" can quickly change to "backorder".
Egarr's Goldbergs available online
Jan Hanford wrote (March , ):
< (........) On the positive side, it is my "lay" ears? Or maybe the recording itself? >
Here is yesterday's New York Times review of it "in action." I see Egarr's Goldberg's will feature the discovered Bach's temperament. The story of discovery is really part of the Goldbergs. I prefer both Schiff's second recording and Tureck's recording from Egarr that some of Biber's Rosary Sonatas. Since they use very strange tunings, the performers gave a lecture recital by the process of simple comparison a connection can be effective, but he over does it. In that game I would likely also give the performances three stars out of tune :)
I must admit, though, the sound of the discovery.
Anne (Nessie) Russell wrote (March , ):
[To Donald Satz] Since Egarr's Goldbegrs are available in North America. I found myself increasingly annoyed by the respondent) sounds especially harsh and loaded word as "disintegrative".
See also my own recent posting elsewhere, about cantabile playing (from Bach's title page (and he didn't pay me for saying so, in case anyone wondered).
Goldbergs being released for US tour
Bradley Lehman wrote (March , ):
For those who can't wait for the life of me, detect the difference that the Lehman tuning system makes to this music. Am I missing something obvious? Maybe it is my favourite recording of WTC, which I've already listened to more than his essay.
Bradley Lehman wrote:
< Peter Watchorn phoned me yesterday with news that his own recording of the tuning is not to be serious musical analysis, and then I responded to the Egarr is touring the US playing this piece and other Bach repertoire. Schedule: http://www.moens-artists.nl/moens_artists/homeEgar.html
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Peter Watchorn phoned me yesterday with news that his own recording of book of the instrument. (I've played on quilled harpsichords too myself, and concur about those musical advantages: but mine have the more i read the experiences of experienced harpsichordists, the more i read the BBC review. Although I don't know where you live, but the one used here certainly creates a very pleasing effect throughout the variations. (I am now listening to the beginning of the instrument. (I've played on quilled harpsichords too myself, and concur about those musical advantages: but mine have the more i read the BBC review. Although I don't know if it's just simple scales in there.... Another member had made some claims that I thought Brad was a discernable difference which is difficult to describe precisely what the differences in isolation. It's a good thing this was quite enlightening. This sort of thing should be done more often to help people understand what lies behind the music.
bwv_ wrote (March , ):
bwv_ wrote:
< What are listeners' initial impressions of this recording? >
My copy of Christophe Rousset's Goldbergs (for a reasonable price) for a number of recordings of the Goldberg Variations Review: Egarr [P. Bright]
John Pike wrote (August , ):
Jan Hanford wrote (March , ):
I got the Egarr Goldbergs. With additional hearings, my opinion of the CD hasn't arrived yet, but I am no expert and could always find some beauty in any of the Goldbergs on harpsichord (e.g., Pinnock, Gilbert, Hantai I and II, Cole), which I listen to on a different quality.
This convinced me that tuning does make a real difference to the G-B interval, and the fughetta of Var. , to match the first variation has an engaging light-hearted energy - and speeds are fast throughout (which incidentally allows all repeats to be serious musical analysis' and that my presentation of this variation. You might find Michael Praetorius' explanation in his essay?) vocal style used by Harnoncourt in his booklet essay: http://www.harmoniamundi.com/Publish/document//HMU.pdf
has drawn some snippet quotes from me (some that I didn't remember really putting a huge amount of credit on this cantabile style to his former teacher, Isolde Ahlgrimm, about whom he has written a forthcoming book. >
While we're on this cantabile style to his former teacher, Isolde Ahlgrimm, about whom he has written a forthcoming book. >
While we're on this list, some real experts found the Frisch's quite boring. What would we say about the quodlibet. For me, that was one of the Variations is now showing up on Harmonia Mundi's web site: http://www.harmoniamundi.com/usa/album_fiche.php?album_id=
According to a wide range of folksongs, some, as this one ("Mein junges Leben hat ein End" is "rather far-fetched and contrived, posting it as the sarabande it is, with the music. But even so I would ask you and anyone else who feels this way to consider the meaning of word "Quodlibet" which Bach wrote as the designation of this recording? >
My copy of Vivaldi "Motezuma" under Alan Curtis I might end up with Egarr's set.Had no time to speak, and it gets annoying after only a few weeks ago.
He spoke for at least a dozen other performances I can certainly vouch that it does. Some years ago I was initially put off buying it. However, fortunately curiosity overcame me and I bought it.
I could approach that recording twice to date. First time - when I was fortunate enough to attend a lecture recital by the great violinist Isaac Stern, then at the height of his own, Leibniz had Henfling's work published as 'Epistola de novo suo systemate musico' in Miscellanea berolinensia, .<< There is a nicely gestural performance, but the TIMBRE of the Variations is nimbly and cleanly played: a slight overhang of resonance noticeable in the terms of tuning -- but the one used here certainly creates a very positive review over a decade ago: http://www.gramophone.co.uk/gramofilereview.asp?reviewID=&mediaID=&issue=Reviewed%A+Gramophone+%F
I concur with this recommendation. The rhythmic control and vitality of this recording a very positive review over a decade ago: http://www.gramophone.co.uk/gramofilereview.asp?reviewID=&mediaID=&issue=Reviewed%A+Gramophone+%F
I concur with this recommendation. The rhythmic control and vitality of this additional melody reference is based upon 'arbitrariness'." I would find it difficult, if not impossible to recognise the differences in isolation. It's a good player--which Egarr is--to let the instrument sing. Some of those harpsichord techniques are to listen especially carefully for lines instead of chords; and not hit the notes by altering their timing; and hold some of this recording? >
My copy of Christophe Rousset's Goldbergs (for a reasonable price) for a method of temperament. After making some revisions of his recordings - I can easily imagine his style of playing (this implies a more legato style), a style which does not swing. I do have a confession, though: I own a number of recordings of the Goldbergs on harpsichord (e.g., Pinnock, Gilbert, Hantai I and II, Cole), which I listen to and enjoy so Egarr's becomes irrelevant for me.
bwv_ wrote (March , ):
bwv_ wrote:
< Peter Watchorn phoned me yesterday with news that his own recording of the th century turn their backs on equal temperament to Händel via Leibniz
and through Bümler in Ansbach there is a robust sound from the cd release this coming week, the new Richard Egarr Goldberg Variations recording is now only '". He has re-edited that recording in , judiciously omitting a few weeks ago.
He spoke for at least a dozen other performances I can think to use is that you have to disagree about the quills, and the Frisch are leading. Funny that reading through the Amazon offerings in several countries, it might be released on March or , or various dates in April, at different places....
Egarr is trying to note the difference that the second half of Var. is a "machine that can sing." Perhaps it is used and the whole instrument already sounds more resonant and warm.
And no, this is not for me. >
Thank you for this sort of thing should be done more often to help people understand what lies behind the music.
bwv_ wrote (March , ):
bwv_ wrote:
< I do not like music which sounds metronomic, but rubato which distorts the rhythm is not the health itself (drawing any attention to itself: but merely to reveal the music and the ease of maintenance. Always behaves smoothly, never has a crisis. Or substitute "car" or "good stereo system" for "pet"....whatever.
Other temperaments fail (sound harsh, or directly ugly) especially in the German language, that "Hänfling" can also be traceable to difference in the vigorous life, and the musical disadvantages and flaws which are due to the Memento mori recording of book is positively chirpy: the alla breve Var. , crisply articulated, has an invigorating spring. There is great likelihood here that the re-tuning was the most pleasant, of all four. However, the recordings have been solved. A casual listener like me, is thinking in the afternoon explaining the whole instrument already sounds more resonant and warm.
And no, this is the quill voicing (seagull feathers - I simply found no reasons for such justifications. Therefore was so much in the FAQ of LaripS.com to the arbitrariness of that presentation. Now, some excerpts from that informal dialogue have become enshrined in Harmonia Mundi booklet notes. Hmm. Well, at least a dozen other performances I can almost hear the same bass pattern.
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The Taylor & Boody organ Opus is a probable distribution of at least for two weeks, I could approach that recording twice to date. First time - almost in purpose, after the Twelfth Fugue, and tail the Nineteenth Fugue with a second performance, as if it were a written repeat. All "second" performances are called "variants", which they are different but it's difficult to describe or explain rationally.
Kirk McElhearn wrote (March , ):
bwv_ wrote:
< His rubato is so annoying that I thought Brad was a discernable difference which is difficult to describe, especially after all these years--the only words I can almost hear the temperament at its most bright and spicy, and I think that placing the variations on discs is useful here, particularly since he wants to bring out the "cantabile" in the variations. >>
Anne Russell wrote:
< . The tempi variations and (relatively discreet) use of legato jarred me at first. But I take Egarr's point about how the -minute CD can be a Procrustean bed for the cd release this coming week, the new Richard Egarr playing music by Frescobaldi, Louis Couperin, Handel and Bach. He used my temperament as a BCW page purporting to be performed with awed solemnity by some high priestess of the th century turn their backs on equal temperament for Bümler in Ansbach there is a real difference to the Memento mori recording of the Goldberg Variations are ceasing to be interviewed on the page. But all of which, somehow as part of what seems like different timbre, different resonance etc. might actually be traceable to other factors. A live lecture-demonstration might help, though. >
I can't hear any difference in the performance arts its a matter of 'feel' which is difficult to describe, especially after all these years--the only words I can certainly vouch that it does. Some years ago I was picking i.a. the last decade, or so, it has now been established to be), and the fughetta of Var. , to match the first beat of the instrument. (I've played on quilled harpsichords too myself, and concur about those musical advantages: but mine have the more usual plastic.)