Sample Of A Counter Demand Letter

Bach Cantata Pilgrimage: full or not?

To commemorate the 250th anniversary of the death of Johann Sebastian Bach, John Eliot Gardiner had this crazy idea record for the year 2000 all the sacred cantatas, each playing week in a different church cantatas written for that week. Everything was recorded and released by a label designed for this occasion, Soli Deo Gloria .
The latest volumes have been published, accompanied by a leaflet to find what cantata is on which disk, and a website CantataFinder that identifies a cantata from a snippet of text.

can then see that the 27 volumes published in this pilgrimage SDG contains only 165 cantatas, on a corpus of 200 numbers (BWV 1 to BWV 200). Where are the others?

must actually complete the 27 volumes by 6 CD "Deutsche Grammophon Archiv "
- Cantatas for Ascension Day (11, 37, 43, 128)
- Cantatas for the 3rd Sunday after Epiphany (72, 73, 111, 156)
- Cantatas for the Feast of the Purification of Mary (82, 83, 125, 200)
- Cantatas for 9th Sunday after Trinity (94, 105, 168)
- Funeral Cantatas (106, 118, 198)
- Cantatas for the 11th Sunday after Trinity (113, 179, 199) This brings us

to 186 cantatas. Still missing 14. But these are errors of classification, cantatas that are not by Bach, or are not really sacred.
- BWV 15: Composition Johann Ludwig Bach
- BWV 29: election of the council of Leipzig (1731)
- BWV 53: Georg Melchior Hoffmann composition
- BWV 119: election of the council of Leipzig (1723)
- BWV 120: Council Elections City of Leipzig (1728 or 1729)
- BWV 141: Georg Philip Telemann composition
- BWV 142: Johann Kuhnau composition
- BWV 157: Cantata for Johann Christoph von funeral Ponickau (1726)
- BWV 160: Georg composition Philip Telemann
- BWV 189: Georg Melchior Hoffmann composition
- BWV 193: election of the council of Leipzig (1738)
- BWV 195:
wedding cantata - BWV 196: Cantata Wedding
- BWV 197: Cantata wedding

And if you want more full of sacred cantatas of Bach, ulyssestone has selected several available on Spotify .

How Bad Is Osteoarthritis

Rihm Dufoury Kourliandski Mantovani (City of Music - November 27, 2010)

Wolfgang Rihm - Gejagte Form (version 1995/1996)

I like the whole cycle, it seems to me, "forms hunted" by Rihm. We find this sometimes hectic race, here initiated by a quartet of flutes and clarinets, barely out of harp and orchestra joined by bursts, which is then organized into multi-layers. Different climates succeed, however, more stalls than in other parts of this cycle, it was time to settle, even if the rhythmic pulsation leads us forever. It is lively, sometimes film, even with suspense, and an end in cliffhanger.

Hugues Dufour - Hunters in the Snow

Since there is a screen above the stage, they plan to introduce the image of the painting by Bruegel . The pace is less hectic than Rihm (and yet it is one of the warmest cycle "Winters" Dufourt!). We feel fatigue fighters, cold, waiting punctuated by mini-dramatic events. I do not know if Mantovani not bored a bit by pointing this music very different from hers. In complement the many musicians from the CIS, there is a very pretty Russian violinist, which helps move lengths.

Dmitri Kourliandski - Items I and II impossible

These are the parts that best justify the theme of "total art" of this concert, which received the most advertising on social networks (the room is full, indeed ...), and that are the worst of the evening, and I hope the year. It takes nearly a quarter of an hour to change the set, with small lights on each desk, as the orchestra will be in darkness, so we can pass the video on the big screen. The music is indeed transcribed real-time computer animation: hence the appearance total art. Except it is a poverty that is pathetic. The music seems to consist of several elements that hardly varied over a quarter of an hour (for an object, slamming the strings vacuum roaring winds that blow and hoot, and very metal percussion; for object 2, things that squeak and scrape, and widgets that whine and squeak), and this is reflected on the screen so simplistic (the object 1 is an architectural scene, with beams that s 'illuminate when slamming the strings, and walls that destructure hum when the winds; Item 2 is a sculpture of tangled wood planks that move, with faceted balls that form and evolve in points of convergence). And that's all. One has the impression of a demonstration, perhaps a "proof of concept. Except that I saw more interesting in Winamp ... Use the resources of the CIS for such a poor result is really a waste.
And then, incredible, almost unheard of in the City, a creation of the CIS, was booed by a section of the public! Phew.

Bruno Mantovani - Chamber Concerto No. 1

Concerto for chamber orchestra, which multiplies interventions virtuoso soloists (congratulations to Jerome Count for the solo clarinet), a structure in which the composer said trying to renew his way of writing music, and who suddenly loses in originality and identity, to join the battalion works in full and loose with soli and tutti, moments of expectation and moments of frenzy, like writing a little for everyone. Fine individual passages, but alloys sound less interesting than usual.

Elsewhere: The concert is available for a few months Music City Live .
Spotify: Minguet Quartet - Rihm: Studien Zu Einem Klarinettenquintett 4 - 4 Male , Ensemble Modern - Hugues Dufour: Winters, mix together - Mantovani: From a dream party

Le Chateau Dresses 2010

David Lescot - The pressure instrument (Theatre des Abbesses - November 26, 2010)

A show floating between jazz and theater, a clash between Jacques Bonnaffe and Médéric Collignon, the idea was very attractive, and attracted enough world for that additional meetings are quickly taken to 18h. Except that since then, Collignon herniated disc was forfeited, and such a personality is simply not replaceable on the track.
Not that his replacement Virgil Vaugelade demerit particularly : You can not ask him to have the same charismatic intensity, the same disproportion extrovert that Collignon. But suddenly, the show is certainly not what was thought David Lescot and Véronique Bellegarde.
history: a "bagpipe blower" who wants to rub the Jazz meets a professor who teaches him the breath and some ABCs, is confronted with other musicians in clubs Jam, falls for a bass fascinated that time gets scared and runs away, and radicalized in a Free search of all that away.
The staging consists of a series of tables, sometimes music, fades, commented by actors / musicians (drummer Philippe Gleizes usual Collignon, trumpeter and guitarist David Lescot, Llorca Odja singing and miming the bass) in a kind of voice polyphonic. There are also video, created / manipulated live by Olivier Garouste. There
of humor (the viewer who wants at any price that he plays "The Lion Sleeps Tonight"), emotion (the first night between the hero and the bassist), beautiful moments ( Club Jam seen as a boxing ring), but the lack Médéric madness, and everything suddenly becomes a little bland, not really missed, but without much interest.



Elsewhere : Amelie Blaustein Niddam
Spotify: Médéric Collignon - Shangri-La Tunkashi , Bruno Dumont - La Vie De Jesus

Vesa 400 Wall Mount Specs

Sylvie Courvoisier Mark Feldman Quartet (Sunset - November 21, 2010)

In this concert, I came to see that those were the leaders, Sylvie Courvoisier and Mark Feldman. Their acolytes a priori does not interest me. Error! It is a true non-standard quartet, which all have an impressive background, and know how to create music with little to none.

Given the expertise and Vilon classical pianist, we say they do not really need a pair to show them the rhythmic tempo. And Actually, they do not. Drummer Gerry Hemingway, who has long played in the fabulous quartet of Anthony Braxton and Crispell with Dresser, has more talent as a percussionist, offering a sort of fog colored broken rhythms, a halo floating and shimmering, it condenses when it is necessary to hammering an impressive compactness.
At his side, Thomas Morgan on bass, I had already in Five Elements Steve Coleman , plays the all-terrain vehicles. Time frame by completing and fuzzy glow of the drummer, then double-note lines of the violinist, and engaging in vigorous solos or tightrope.

Feldman is that this face to the public announcement in French songs, and generally running the show most often. His playing is always melodic, limited post-romantic, with soaring strings where acute rending cry of complaints, with some gaming effects, often with repeated lines above the ebb and flow of its partners. When
to Courvoisier, the play is a pleasure to see every moment renewed, as she juggles all possible plays the piano, setting out a series of chords nicely, when suddenly the right hand part flutter in acute deafening chirping speed, or although the left hand in hand for pizzicato strings rumbling, and then she gets up and plays in the cabinet with large beads that create a pace that will meet the drummer in his own way, and all this with a confidence and a natural give the sense that each of its interventions is just necessary and appropriate.

The pieces are long, filled with spaces for improvisation, with returns, ways of verses between choruses of sorts, departures, it is unclear to where it is in classical music before bed- care and free jazz without his aggressive side easily.
Two sets not very long, but intense emotions, surprises, listening, and donations. A great big concert.



Elsewhere: Native Dancer
Spotify: Sylvie Courvoisier & Mark Feldman - Oblivia , Sylvie Courvoisier & Mark Feldman & Erik Friedlander - Abaton , Steve Coleman & Five Elements - Weaving Symbolics , Anthony Braxton & Gerry Hemingway - Old Dogs (2007)