“Above anything else, stay true to yourself. Whether that means for you that you like to have blue hair, or you don’t like to drink, or you are attracted to the same sex, or you want to remove yourself from Facebook, or you’ve got 3 different kids from 3 different dads but you know you’re a really good mom, or you cry for a week because your turtle died. Whatever your truth is, stay true to yourself. But be a good person while you’re at it.”—Gillian Anderson’s advice for young feminists. (via foxsmulders)
Christian Gottfried Telonius (died 1750) Concerto No.13 in D major for Tromba marina, Strings, Timpani, and Continuo
Thilo Hirsch, Tromba marina Ensemble Arcimboldo - Thilo Hirsch, dir.
As if the amazing and beautiful tromba marina playing wasn’t enough, instead of normal timpani, this recording uses a wooden drum often used together with the tromba marina, particularly in churches. It was first mentioned by Daniel Speer in 1697 and then as late as 1795 by Altenburg and 1796 by J.C. Adelung.
It consisted of a large wooden soundbox with a single string which was divided into two unequal parts by a bridge to produce two different notes like a pair of kettledrums. The string was struck with wooden sticks and, according to Speer, made a sound “like muffled kettledrums”. This is the only image I could find of the instrument used in this recording (along with its player, Philip Tarr):
Dan Laurin plays the third movement, “allegro” from Telemann’s F major recorder concerto TWV 51:F1. Telemann was almost completely self taught in music, and was a multi-instrumentalist and composer from a young age in spite of his parents disapproval. As is obvious to any recorder player, Telemann had an natural feel for the instrument, and pushed its limits, often maintaining a very high tessitura, allowing the recorder to project over the strings. This concerto is perhaps the only baroque work to use the highest note playable on an alto recorder, a c8 whereas other works only use up to the g7.
Jean-Phillipe Rameau composed a number of very colorful compositions for solo harpsichord. Here Trevor Pinnock plays “Les Cyclopes” from the Troisieme Suite en Re Mineur. He plays a loud, robust, 1764 Parisian harpsichord that seems to fit his sinewy playing style, and naturally accommodates the music with a rich bass and a clear, crystalline high register. Typical of french baroque suites, the movement title is illustrative, and it is in the form of a rondeau with a theme and reprises.