#paul o'dette

[usunezukoinezu]

Orlando di Lasso - Gloria della 'Missa dixit Joseph'

Hopkinson Smith & Paul O'Dette - lute

Duetti Italiani

[tejedac]

John Dowland (1563-1626)

Complete Lute Works: playlist

Paul O'Dette (lute)

[lesser-known-composers]

Nicolas Vallet (c.1583 – c.1642) - Boerinneken ·

Paul O'Dette, lute

[posttexasstressdisorder]

Monday, 11-18-24, 8am Pacific

'Mornin', folks...a severely under-caffeinated Mr. Baggins here with your Morning Coffee Music, selections to get us in gear and in good cheer. While my carafe of java finishes its drippin', we're gonna hear the music of Boccherini, one of his String Quintets. This is his “String Quintet in F minor, G 274”, played for us here by The Smithsonian Chamber Players, in a recording made in 1991.

I first encountered this music by chance hearing over the Classical radio station in Austin, KMFA. That chance hearing led to the CD purchase, with zero regrets. I've never really cared for "classical guitar" as such, but hearing Lutenist Paul O'Dette ply his craft on the music of a composer I'd never heard of before, I had to have it. Here is Paul O'Dette playing the Kapsberger "Il Tedesco Della Tiorba". Pour yourself a fresh cup and enjoy!

We move from Kapsberger to Khatchaturian now. Here is his Piano Concerto in D-flat, Op. 38. This is a live recording from Moscow, with pianist Nikolai Petrov and the composer himself conducting the Moscow Radio Symphony, in 1972.

Let's listen next to another of Dvorak's early Symphonies. We've heard the first three so far, and here is Symphony No. 4, with Istvan Kertesz and the LSO.

And now let's have our daily Gould/Bach shot. Here is Bach's A major Concerto, BWV 1055. Vladimir Golschmann is the conductor, leading The Columbia Symphony Orchestra. Recorded in February, 1969.

Now, everyone has their favorite Beethoven Symphony recordings, and I'm no exception. To me there is no better recording of the Symphony No. 7, than that conducted by Pablo Casals and the Marlboro Festival (mostly student) Orchestra, recorded in '68. Pour a fresh cup and enjoy!

Let's hear from Neville Marriner and The Academy in more Vaughan Williams. Here is his Five Variants of "Dives and Lazarus", recorded in 1972.

Next we move to the music of Mozart, this time his mighty "Jupiter" Symphony, the Symphony No. 41 in C major KV 551. We hear Fritz Reiner and The Chicago in their definitive performance from April 1954, on RCA.

Another of my favorite pianistas is the great Spanish pianist Alicia de Larrocha, whom I had the privilege of seeing in concert, in 1983. Truly a once-in-a-lifetime experience! Here she is now playing three Chopin selections, including the orchestrated version of the Andante Spianato and Grand Polonaise, filmed live in 1970. I hope you enjoy.

As a little encore, here she is playing the "Ritual Fire Dance", from composer Manuel de Falla. There is no interpretation finer than this!

That wraps up Morning Coffee Music for this Monday. I do hope you have enjoyed the selections this morning. This is Mr. Baggins, signing off for now. I will return at 2pm Pacific for our daily Afternoon Stack of Classic Wax!

Until then, be kind, babies, be kind.

Baggins out.

[severalpossiblemusiks]

2, 10 and 30?

2. A band I always come back to.

I think this is gonna sound cringe, but one of the first bands to get me into metal was a Christian glam metal group called Stryper. While their lyrics are overtly Christian and prosletizing, their musicianship is incredible and I have yet to find a dual-guitarist lineup I like better. Their early stuff in the 80s is like a mixture of glam and power/speed, and their more recent stuff after getting back together in the 2010s gives me a lot of Judas Priest vibes, lots of classic heavy metal with touches of power metal.

10. Most underrated musician.

I could list many musicians here. Some of them are actually quite popular within their own circles, but in terms of the general population they may not have a large following. First is Django Reinhardt, a Belgian/French Romani guitarist who effectively created the jazz manouche style (sometimes called g*psy jazz), and accomplished this with only two functioning fingers on his left hand due to severe burns. He also influenced the likes of Tony Iommi, Jerry Garcia, and Eddie Van Halen. Second is Paco de Lucia, a Spanish/Portuguese flamenco guitarist who branched into jazz and made "new flamenco" a world fusion style of flamenco and jazz. His works with jazz fusion guitar legends like Al Di Meola and John McLaughlin are some of my favourite pieces of music ever. Third is Buckethead. The man just hangs out and releases like 20 albums a year, almost all of them instrumentals. There are some other artists and groups like Leah McHenry (who goes by LEAH), Eye of Melian, dArtagnan, Steeleye Span, Imperial Age, Lords of the Trident, Sunburst, Blazon Stone, Númenor, Fire Whale, Grimgotts, Daniel Amos, Fief, Ziggurath, Crazy Lixx, Bloodywood, Crown Lands, Haralabos Stafylakis, T. Patrick Carrabre, Harmonium, Auri, Wilderun, Vials of Wrath, Karen Sunabacka, Oceans of Slumber, Signum Regis, and Paul O'Dette. (Sorry about the lengthy list. Also this covers metal, rock, classical, jazz, folk, and more)

30. A song from your favourite band.

[harmony-balance]

Johannes Hieronymus Kapsberger Pieces for Lute, Paul O'Dette

[daveslutstaine]

it's nice and rainy out and we are totally not under tornado watch so I figured it would be a good time to post some calming Elizabethan lute music

[musicwithoutborders]

Paul O'Dette · Andrew Lawrence-King · David Douglass, Old Simon the King I English Country Dances - 17th Century Music from the Publications of John Playford, 1998

[tranceberry]

Johannes Kapsberger, Toccata arpeggiata, Paul O'Dette Baroque lute

[pessimistic-elitist]

Today is the birthday of Johann Sebastian Bach!

[minyoongothic]

I can’t stop listening to this, because I’m a vampire who misses the 1500′s, so here’s for everyone else to enjoy it with me.

Renaissance Lute - John Dowland (Album) 

Player: Paul O´Dette 

Painting - Bartolomeo Montagna (1498) 

List:

Mr Knight's Galliard 0:00 The Frog Galliard 1:39 My Ladie Riche's Galliard 5:11 Galliard P104 6:48 Galliard P35 8:29 Mr. Giles Hobie's Galliard 10:10 Mellancoly Galliard 12:00 Galliard P27 14:23 Galliard P30 16:10 Suzanna Galliard 18:03 Dowland's First Galliard 19:52 Captain Digorie Piper's Galliard 21:35 Dowland's Galliard P20 23:54 Captain Candishe, His Galliard 25:18 Can she Excuse My Wrongs 26:21 Mrs. Vaux Galliard 27:55 Mignarda 30:15 Sir John Souch, His Galliard 33:41 King of Denmark, His Galliard 35:20 Mr. Langton's Galliard 38:11 The Most Sacred Queen Elizabeth, Her Galliard 40:51 Queen Elizabeth, Her Galliard 41:59 Galliard on Walsingham 43:35 Earl of Derby, His Galliard 45:29 Galliard to Lachrimae 47:58 The Right Honourable Robert, Earl of Essex, His Galliard 50:29 On a Galliard By Daniel Bacheler 52:15 Galliard P82 55:31 Galliard For Lute on "Awake Sweet Love" Set By Francis Cutting 57:26 Frog Galliard P23 59:14 Ferdinando, Earl of Derby, His Galliard 1:01:18 Earl of Essex, His Galliard P89 1:04:07 Galliard P76 1:05:46 Galliard P103 1:07:26 Squire's Galliard 1:09:21 Sir Thomas Monson, His Galliard 1:11:15 Captaine Piper, His Galliard 1:13:25

[mellowchouchou]

Mrs. Costeloe - Turlough O'Carolan

performed by Paul O'Dette

[lesser-known-composers]

Michel-Richard de Lalande (1657-1726) - Concert d'Esculape, S. 134: Apollon qui chérit sa science profonde

Choir: Boston Early Music Festival Vocal Ensemble

Orchestra: Boston Early Music Festival Chamber Ensemble Conductor: Paul O'Dette

Conductor: Stephen Stubbs

[elmartillosinmetre]

“Adoro tocar a solo”

[Miguel Rincón con la guitarra barroca]

El sevillano Miguel Rincón abre mañana el Otoño Barroco de este año con un programa en el que combina a Bach tocado al archilaúd con la música para guitarra barroca de su último disco

Establecido desde hace años en Basilea, Miguel Rincón (Sevilla, 1979) es uno de los intérpretes de cuerda pulsada más requeridos por algunos de los mejores conjuntos barrocos del continente, de Il Giardino Armonico a L’Artaserse de Philippe Jaroussky, de la Akademie für Alte Musik de Berlín, conjunto con el que acaba de volver de una gira por Japón, a I Barocchisti de Diego Fasolis o Les Musiciens du Prince-Monaco, el grupo de la mezzo romana Cecilia Bartoli, con el que tiene prevista una gira para los meses de noviembre y diciembre próximos.

–¿Se imaginaba algo así o le ha pillado un poco de sorpresa? –Todos esos grupos que cita son muy importantes. Pero hay otros muchos con los que también me encantaría tocar, y no sé si lo conseguiré. Y sorpresa no tanta, porque yo sigo estudiando a un nivel muy alto muchísimas horas; incluso los últimos años lo hago más que cuando empecé, pero es verdad que nada me podía hacer entrever que llegaría a tocar tantas veces con tantos grupos famosos. Estoy muy contento, aunque la presión también es muy fuerte, porque el nivel de exigencia es altísimo.

–De cualquier modo, siempre encuentra tiempo para volver a España, y en concreto a Sevilla, tanto en solitario como para tocar con grupos de aquí. –Sí, tengo ahora este recital de Sevilla. Luego tengo otro como solista en Santander el 1 de febrero. Y sigo tocando mucho con la Accademia del Piacere de Fahmi Alqhai, tanto en España como en el extranjero. No hay nada como tocar con verdaderos amigos. Me crie con ellos, y es algo muy distinto a tocar con esos grandes conjuntos internacionales, en los que me ajusto a lo que me piden. Aquí puedo ser un poco más yo, hacer el continuo que me gusta.

–Aprovecha este recital sevillano para presentar su último disco, un recorrido por los tres grandes maestros españoles de la guitarra barroca. ¿Cómo nace la idea de este disco? –La idea primigenia era simplemente grabar un disco para guitarra barroca, pero tras pensar con detenimiento el repertorio y dados mis orígenes pensé que estaría muy bien hacer el repertorio español al que pudiera darle un poco más de aire flamenco, aunque no sea posible en todas las piezas, claro.

–Usa música de los tres compositores para guitarra más conocidos del Barroco español, pero son músicos diferentes, ¿qué singulariza a cada uno? –Murcia y Guerau son muy diferentes entre sí y Sanz se queda un poco en medio. La música de Murcia tiene un componente mucho más folclórico y callejero, aunque de mucha dificultad, con mucho rasgueo, que mezcla con el punteado. Sus piezas también son muy variadas, algunas son claramente italianas, pero otras tienen rasgos franceses. Fue el laudista personal de María de Saboya, así que estuvo muy en contacto con el repertorio francés. Guerau, en cambio, parece provenir de una tradición vihuelística al estilo de Fuenllana, muy seria, basada en el contrapunto y con solo punteado. No mete rasgueos, no introduce campanelas. Mantenía los dos bordones en los bajos de la guitarra lo que no permitía hacer fácilmente las campanelas. Y Sanz tiene un poco de todo: piezas francesas, rasgueado, punteado, piezas más de calle y de carácter folclórico... En mi opinión es un poco más flojo que los otros dos, no por el virtuosismo, pero sí por la calidad de la composición, aunque hay quien no lo cree así.

–Guerau representa en efecto el contrapunto en la guitarra barroca española, pero ha escogido las danzas más movidas... –Sí, quería hacer un disco fundamentalmente ameno y ligero. Quizás la pavana sea la pieza más seria, pero he cogido de él también la música más alegre, jácaras, marionas, canarios... He querido hacer un disco que pudiera gustar a todo el mundo, con momentos pop, flamencos, otros más serios, e introducciones un poco libres, incluso fuera de estilo. Quería aportar algo que fuera novedoso y fresco aunque pudiera provocar las protestas de los escolásticos. En cualquier caso en el disco muestro también que puedo abordar las obras más serias de estos compositores, la pavana de Guerau, la de Sanz o uno de los pasacalles de Sanz también.

–¿Dónde está el flamenco? –De forma más concreta en las jácaras de Guerau o en el fandango de Murcia, pero más allá de eso, es el toque que he querido darle a otras piezas que en principio nada tienen que ver, como el Pasacalles por la E de Sanz o los canarios de Guerau. Hago cosas con la velocidad o con el tipo de ataque que está más cercano al mundo del flamenco, aunque quizás simplemente deberíamos decir a música más universal y general. No suena necesariamente a música antigua.

–��ltimamente no son demasiado habituales los discos para guitarra barroca sola. Parece que a los intérpretes les da miedo aburrir y buscan acompañarla, sobre todo, con percusión. Usted no tuvo ese miedo. –La percusión le da mucha vida a un disco de guitarra, pero yo quería hacer algo más a solo y saltarme esa moda de los últimos años.

–En Sevilla toca también transcripciones propias al archilaúd de dos suites para violonchelo de Bach, que acaba de grabar. –Sí, el disco saldrá a finales de año o principios del siguiente. He grabado las tres últimas suites con un archilaúd y tengo pendientes las otras tres, para completar la integral, que es algo que nadie había hecho. Hay versiones con tiorba o con laúd barroco, pero no con este instrumento.

–¿Tiene previsto seguir su carrera por Centroeuropa? –De momento creo que seguiré en Suiza y tocando mucho con otros grupos, pero mi idea es desarrollar más mi carrera de solista, seguir grabando también discos a solo, y quizás finalmente volver.

–¿Se siente más cómodo como solista? –Adoro tocar a solo y hacer el repertorio de toda la familia de la cuerda pulsada... Sobre todo porque tú tomas todas las decisiones, pero sin los grupos me faltaría algo. Además, hacer carrera de solista con estos instrumentos es casi imposible. Si no das clases, es muy difícil. Quizás ahora mismo sólo Hopkinson Smith, Nigel North o Paul O’Dette pueden vivir de esto.

–¿Qué más discos tiene en proyecto? –Como solista, voy a grabar uno con laúd barroco y música de Weiss, Bach, Hagen, Kohaut y otros. Tengo que cerrar también la integral de las suites de violonchelo de Bach, con las tres primeras. Y es posible que me plantee grabar toda su música para laúd. Hay en perspectiva uno con laúd renacentista del que tengo muchísimas ganas. Me gustaría también volver sobre la guitarra barroca para grabar música de Francesco Corbetta, aunque esto será más adelante.

[Diario de Sevilla. 7-10-2019]

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EL DISCO EN SPOTIFY

[tydye]

HunTy AU : 💃👰

This is yet another au with my friend’s oc, Hunter, and my oc, Tyler. Hope you enjoy! I made this one after my friend’s made a small vote for it with emojis, so I hope you guys enjoy this surprise story as well as the last one! <3

________________________________________________________________

*Warning: character injury 

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Tyler and Hunter were at a masquerade ball. Both there for their own reasons. This took place during the 16th century and Hunter was there as a person under official business. It was mandatory for him to be there. 

Tyler was there on a certain mission. He was sent to take out a man that happened to be here on official business. To be honest, Tyler didn’t usually have a problem with these missions. He knew what the man looked like from a mere description, but it was worthless due to all the damned masks. So as of now Tyler kept out a keen ear and eye for the man on his assassination list. 

Hunter made his way to the beverages and took a glass of wine. Next to him was a fair young man, someone who seemed around his own age. This had intrigued Hunter because he was sure that he was only one his age. Then again the man was also much smaller than Hunter. Maybe it’s a woman?.. No she’d be wearing a dress then. Hunter then slowly made his way over trying to not be noticeable or suspicious looking. “ Um.. Do you need something, sir?” The man spoke turning to Hunter with a confident and strong gaze. Hunter blinked and internally cursed the fact he’d been so obvious. “ I-I uh, sorry.. I just- you seem very young. I thought I’d be the youngest person here, so I was curious to see who you were.” Hunter lowered his gaze to the wine in his glass a tad embarrassed. Tyler gave the man a small smile and chuckled,” Is that so? Well I guess you’ll never truly know tonight.” Tyler picked up some of the bread and cheese off the platters. “ Is that you saying you’ll see me again?” Hunter looked back at the shorter man,“ Because if so, I’m looking forward to it.” Tyler gave Hunter an amused look,” Why’s that? Shouldn’t you be more interested in one of those dames, you know the ones that keep staring at you from over there.” Tyler pointed to some ladies in big poofy dresses. The girls, about four of them, giggled and blushed quickly looking to one another. 

Hunter’s face flushed and he ran a hand through his hair,” Well.. they aren’t really my type.” Hunter caught the mysterious man’s gaze and then glanced away. Tyler bit his lip and set the food down taking the drink Hunter had and set it down. “ It’s a bit stuffy in here, would you like to join me for some fresh air?” Hunter had definitely not expected this, but the party was pretty boring anyways. Plus it’s not like he ever wanted to be at this party, especially since he didn’t know much of anyone, and this seemed like way more fun than the party. I mean I’m not even dancing with anyone right now anyways. “ Alright, it is a bit stuffy here like you said.” 

Tyler smiled, forgetting his mission temporarily, and took Hunter’s wrist dragging him off to the outdoor seating area. Aka the gardens. It was empty out here, but you could still hear the elegant ballroom music. “ So, why exactly are you here.. And what’s a good looking guy like you not doing dancing with some pretty young lady?” Hunter laughed a bit and made his way over leaning against a tall dark bending tree. With crossed arms he looked up at the stranger,” I mean I can’t even tell if they're actually young first of all. And I have to be here, so I don’t really want to be here.” “ Okay, wait wait wait. How did you know I was young then?That makes zero sense, mystery man.” “ I just- It’s just- you seemed young. You uh, look young..” Hunter mumbled hoping he wouldn’t offend the guy,” You know. With you uh-” “ You mean my height and my size? Yeah, I know. I am not the biggest man out there in the world.” Tyler chuckled a tad bit shy now. It was a topic he was very much used to, but it was still sort of embarrassing in his eyes. 

Now you may think of Hunter as crazy, but there weren't a lot of people like him out there in the world at this time. At least not to his own knowledge. But there was just something about this mystery man that made him think that they had one thing especially in common. Hunter knew that people like him weren’t very.. welcomed with open arms, but maybe he had a shot here? “ I uh.. I kinda think it’s cute. You know, like um, like something cute and petite.” 

That definitely caught Tyler’s attention. Now he’d definitely never admit that he was one of those guys who were into other guys, and he still loved women so this was all confusing, but he was. Tyler didn’t know how to respond though. He was very much flattered, but he didn’t know this man at all. I’m on a mission anyways, I can’t be getting distracted-

“ I-I’m so sorry, ignore that. Pretend I never said anything, I guess I just assumed you were- nevermind.” Hunter said quickly and looked down at his special occasion shoes. Tyler wore a slightly surprised face but then slowly smiled. He took a few steps forward and held out his hand. “ Would you mind dancing with me? I love this song.. And I don’t want to dance all on my own out here.” The song Bransle gay by Paul O'Dette began to play faintly from the ballroom. Hunter stood there for a few moments a bit in disbelief before he took Tyler’s hand pulling him into the ballroom dancing closed position and began to take the male role leading Tyler around. Tyler was pretty much expecting that, especially since the other man was taller than himself, and Tyler actually liked this. He felt so light on his feet and safe in the big arms holding him. Just gazing into those gorgeous green apple eyes, the only thing he could really see clearly from the mask from the bottom of his nose and up. Meanwhile Hunter couldn’t tear away his eyes from those gorgeous blue ocean waves. He couldn’t believe this was even happening in the first place to be honest, but he wouldn’t dwell on that much longer. Hunter decided to keep his attention on the man he was dancing with. The mystery man who seemed to fit just perfectly in his arms. “ So, why exactly are you here?” Tyler blushed and tore his gaze away glancing to the side. “ I uh.. I’m here on official business I guess? I have to find someone and uh, talk to them.. But it’s pretty hard to do when I can’t even see anyone’s face. I mean sure the masks only cover the top part of the face, but I don’t memorize people’s jawlines or chins.” Hunter laughed at the small joke and pulled Tyler a tad bit closer,” Well I’m glad because now we get to hang out out here together.” “ Oh you flatter me too much,” Tyler leaned up, just a tad bit on his tippy toes, towards Hunter. “ Keep going.” Hunter gave Tyler a dry laugh with a small roll of his eyes. “ Oh really now, am I just here to boost your ego? I think I prefer just dancing with you.” Hunter gave Tyler a small spin which he honestly would love to do again, so he did. Hunter found a new love of spinning this man. It just seemed so graceful and perfect. How could one man be so perfect?? The two young men spent the next few moments dancing and chatting. Sharing cute laughs and just having an amazing time. They went through three songs until they both were very much tired, but this night wasn’t over for them yet. Hunter took Tyler’s hand dragging him over to a beautiful set of flowers. He picked one and then turned to Tyler placing it in the man’s hair carefully. “ Wh-What are you doing?..” Tyler mumbled another light pink blush dusting across his cheeks. Hunter gave Tyler a nice charming smile letting his fingers gently trace down the side of Tyler’s face before pulling his hand away. “ It’s a lily. This one is commonly known or called the Stargazer. It looks lovely on you.” Tyler’s eyes twinkled like the night sky above them and neither of them dared to look away. “ It’s beautiful.. I’ll carry it with me forever.” Tyler’s tone was soft and gentle. His heart fluttered and his stomach twisted before that small butterfly feeling came. He’d never felt this way before, but he loved the feeling. “ Hunter.” “ What?..” Tyler’s eyebrows knit in confusion up at the taller man. “ My name,” Hunter cleared his throat,” It’s Hunter. Hunter Serrano Ellis.” That’s when dread smacked Tyler right across his face. No.. this can’t be him. Please tell me he’s joking. Tyler gulped and looked down at the space between them. “ A-Are you uh.. Are you being honest?” Hunter gave Tyler a weird look, pretty much confused now. Did I say something wrong?? Hunter thought and bit his bottom lip. “ Yes, why would I lie about my name?” Tyler felt nauseous and he held his head in one hand,” Oh gosh..” He turned away with a scowl on his face. Tyler couldn’t kill this man! But he couldn’t not go through with the job either.. Or else he’d never be able to get out of this deal. He’d be stuck either trying to kill this man, or trying to find some other way to fulfill the deal he had previously made for the people who hired his services. Tyler has always gone through with his deals. Just because this man really.. likes my company doesn’t mean a thing. I have to finish this. I must. But I don’t want to.. Tyler felt so conflicted he didn’t know what to do. 

Hunter watched Tyler slowly walk away from him and he quickly reached out taking a hold of Tyler’s hand. “ Wait! What’s wrong?? Did I do something? I don’t understand what just happened.” Tyler sighed and stared at Hunter’s hand holding his own. He’d made up his mind now. “ It’s nothing.. C-Can you get me some water please?” “ Oh, alright. Are you feeling okay?” Hunter guided Tyler to a small bench and then held both of his hands. Tyler just shook his head, he did look suddenly ill. Maybe it was the food they had out? “ Not really.. Please, I need some water.” Tyler mumbled and squeezed Hunter’s hands for a second. Hunter nodded, he stood there for a second contemplating something, and then he quickly kissed Tyler’s cheek and walked off back to the giant entrance to the garden. The next thing Hunter knew was a sharp pain right in his back and some blood. He’d collapsed onto the ground and then was turned over, the blue eyes were all he saw. They looked so guilty and regretful. So solemn. “ I’m sorry.. I hope we’ll meet again someday.” The mysterious man stood, running off and out of Hunter’s view. His vision slowly faded until all he saw was darkness. And all he heard was people’s yells for help after a few moments of silence. 

The next time Hunter woke up, he was in a bed and those eyes were gone. But the memory is still alive, and he’d be sure to meet that man again. Because he knew their paths would cross once more. When? He wasn’t sure. But Hunter would definitely make sure it would happen because he had some unfinished business with him.