#Spinet

[vox-anglosphere]

Beningbrough Hall

[gasparodasalo]

Gasparo Visconti (1683-1731) - Sonata for Violin and Basso continuo in e-minor, Op. 1 No. 5, IV. Allegro. Performed by Andrea Rognini, violin, Marco Frezzato, cello, and Marco Ruggeri, spinet, on period instruments.

[abwwia]

Lavinia Fontana, Self-portrait at the Spinet with Maid, 1577

[chordophoneoftheday]

1976 Robert Goble & Son Spinet

[video-perso-schleppy]

We play on our Martin SASSMANN spinet two NOELS by J.-F. DANDRIEU (1682-1738), published in Paris in 1759.

[tfblovesmusic]

Feeling reminiscent…

Played this Philip Gordon banger (as 3rd clarinetist) during 7th grade at the Florida Bandmasters Association regional MPAs in 2003. Back then, I was the ONLY STUDENT in my MS band who had an EVER-GROWING background knowledge of early music pre-1776 (not to mention me being a part of the minority who had cable).

With me having developed a taste for Henry Purcell (and other baroque composers besides the Bach family and my personal favorite, GF Handel), it was fun playing music of his contemporaries arranged for band.

Fast forward to adulthood, and I decided to start searching for the origins of each movement. (Thanks, Mark Polesky.) All the movements in the Gordon band piece originated from harpsichord suites. (Remember the Fiocco Allegro from Suzuki Book 6?)

Here’s the first movement - the Minuet from Jeremiah Clarke’s (of the Prince of Denmark March fame) Suite No 1. in G Major.

Movement starts on 11:32.

The second movement is the Sarabande from William Croft’s (of “O God, Our Help in Ages Past” fame) Suite No. 3 in C Minor, played on a - GASP - a replica 1722 Thomas Hitchcock spinet!

Movement starts on 7:37.

Finally, the third movement is the march from Francis Piggott’s Set in C Major, played on a harpsichord sample set.

Movement starts on 6:51.

[magical-mystery-tour1967]

The following text is from Alexander Wheelock Thayer's Antonio Salieri biography [edited by Theodore Albrecht]

In which Salieri jumps into a spinet

In the year 1768, the pupil began to hear specimens of his compositions performed in public. Gassmann, having charge of the Italian opera, often had slight changes, additions and the like, to make in the music, and these he occasionally entrusted to his pupil, mainly to put a stop to his constant entreaties to be allowed to produce something in public. That the pupil often composed texts, already set by his master, for the purpose of self. improvement as the boy Benjamin Franklin re-wrote Steele's and Addison's Spectators-Gassmann did not know.

One of his tricks at that time which ended happily is a good indication of his character, and, when an old fellow, he evidently heartily enjoyed the memory of the success of the young one.

They had an old spinet in the theater which was moved from the orchestra to the rehearsal room and back, as it was needed in rehearsal or at performance, and was so superannuated as not to remain in tune even for a single evening. The singers complained, too, that they could not hear the accompaniment, and Salieri found it alike useless to play in the higher octaves. Here a string snapped, there one gave way; here some of the quills, which snapped the strings, were lacking; there they remained sticking above the strings. In short, the old thing, already nearly useless, grew worse each day, and the manager was too miserly to buy a new one. One morning after a rehearsal at which Salieri's martyrdom had been almost intolerable, he was obliged to wait for a copyist to make certain corrections in the parts, and found himself quite alone with his enemy. He threw the old instrument wide open, mounted a chair beside it and jumped bodily. What havoc with the internal organism this kind of performance would make, may be safely left to the imagination.

When the copyist came the spinet was, as usual, closed and locked, and Salieri was calmly busy in his corrections of the score, which the other was to transfer to the parts. All the directions were given as usual and the two left the room together.

That evening was an opera, so the spinet was transferred from the hall to the orchestra, and an hour before the performance the tuner came to perform his daily task. He opened it; "Mercy on us!" and sank back into the chair. He called the men who had brought it down. They were as overcome by the sad sight as the tuner himself. They hurried off to call Gassmann and the manager, and while they were seeking for a clue to the criminal, another instrument for that evening was brought in. Next day another rehearsal, at which the spinet was thoroughly examined; nearly all the strings were gone, and the sounding board itself crushed-the career of that spinet was ended.

"The cover must have tumbled in," said one.

"No, a music-stand," said a second.

"Not so," said the tuner, "all together would not have done so much damage; some devil or other must have jumped into it."

"The good man has almost guessed it," thought Salieri, who stood by, and not too much at his ease, though no one suspected-at least seemed to suspect him, and who was not free from anxiety until he heard Gassmann say:

"Be it as it may! Thank Heaven, the manager will at length be compelled to get a new instrument made." And so he was.

[culmaer]

there isn't really any concensus in Afrikaans on what the word is for a typing keyboard

like, I use sleutelbord which is a literal translation of "key + board" and I feel like most people my age use this as well. a sleutel is the type of key which unlocks a door

I have occasionally seen klawerbord used, but this is surely a translation error, because klawerbord does technically mean "keyboard"... as in an electric piano. a klawer is a key on a piano, which is a klavier

and then I've also seen and heard academics, literary folks and journalists use toetsbord or toetsebord, so I feel like this is more "correct" term from a prescriptivist perspective, but the vibes are all wrong. a toetsebord refers to the keyboard manuals on a pipe organ, and the toetse, more broadly, also includes the stops (which ofc a regular piano doesn't have). and it just feels inappropriate to me to use the same word for something as majestic as an organ and also the little letters on my phone

and while I did play around on typewriters as a child, they were already basically obsolete at that point so idk what terminology was used for their keyboards. but I read an article recently which seemed to use toetse for the buttons, and sleutel for actual bit of metal which strikes the ribbon. so both sleutelbord and toetsbord could work

[jonathanrook]

okay so like. mymusic is about internalized transphobia. right. we can all agree on this. right.

like, i know that curtis's arc is meant to be allegorical for coming out as gay, but it makes a lot more sense for him to be trans, which means that the music genre(s) you like are akin to genders in this universe, or at least at mymusic.

following this logic, flowchart doesn't like music, making him nonbinary.

which two employees does indie resent the most? flowchart and nerdcore, both for their inability to conform to his rules of music taste gender. we know that indie puts a lot of effort into being a proper impassive hipster, which theoretically he shouldn't have to if that was truly who he was (not to mention that he does this to please his father, which, oof.) we also know that indie can envision himself becoming a nerd, which is specifically the subculture/stereotype most explicitly presented as being "trans."

[andromerot]

si spinetta fuera gringo tendriamos diez posts tipo "beautiful girl ☺️" con fotos suyas por dia. quizas para mejor

[incorrect-composer-quotes]

Spinet: //exists

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Salieri:

[spinsworthyourfind]

Learning Spin #2: What is a snitch?

To begin to answer the first spinetical question of Spins Worth Your Find’s Learning Spins, I would like to point out that this is one of those questions that may have a multitude of answers because of the different lifestyles around the world. However, I feel like it is an important topic to be discussed because there are many places around the world where violent crimes occur because of the term, ‘snitch’. And, a lot of them occur because the term was misused.

According to Google Search’s definition from Oxford Languages: a snitch is to inform on someone.

That is a correct definition, however, not as detailed as the term needs to be defined. Although the term, snitch is defined as an informant, over time of the terms existence, as well as an informant being an actual career in some locations around the world, the degree of the term and definition has become divided.

The degree of division is what separates the term ‘informant’ from the dangerous term, ‘snitch’. In a majority of places, “snitch” is a very bad term. So, it is important to understand the difference, so as to prevent unnecessary dangers to someone’s life by misusing the term ‘snitch’.

While an informant’s job is to inform, there are rules and regulations that they are supposed to follow to keep their informing at a level of a ‘need to know basis’ to maintain the safety and wellbeing of people’s lives. Normally, when or if a person becomes classified as a ‘snitch’, there is usually lies being made up to intentionally create hostile or seemingly dangerous situations, just to set someone up to make an excuse to snitch on a particular individual.

When individuals start to target one another to set them up or are ‘out to get’ someone, having that target is what creates the boundary of danger and snitching becomes a very serious matter.

Being labeled a snitch is a very dangerous thing in some places, small towns and big cities. Most of the time when someone is labeled a snitch, they end up losing their lives due to fighting. Or, losing their life by changing their entire lifestyle and living in fear.

It is important not to use the term, ‘snitch’, especially if it is not true, or just a rumor. Just one little word misused can cause a lot of problems in a person’s life. So, keep in mind the consequences that could be avoided by thinking about what you say before you say it, especially if it is a lie or not entirely accurate.

by Lanor A. Hughes

[spinetical]

[thislittlekumquat]

Finally getting off tumblr to go get ready for work so I don't see last binding spoilers from someone I follow who is reblogging a bunch of fanart

[video-perso-schleppy]

From G.F. TELEMANN, we play on our spinet, the ARIA from the Overture in G major TWV 32:13 for harpsichord or keyboard.

[spineticalz]

Minute Moment Number One

https://lanorhughes.myshopify.com

World Where We Wear Wisdom

spinetical:totally awesome and amazing to the extreme