Music is certainly "universal" is it not?Fabbri wrote: What a stirring example of international connectivity: someone in Cornwall responds to a French request for information which is then supplied from America about a woman born in Germany who married an Englishman. And the answer lies in Ireland....
All items from Hudleston collection can be searched and downloded without registration.Fabbri wrote:Thanks for the reference, Vlad. I'm trying to register now with the RIAM library to get online access. Sounds very promising.
Now you can add a Norwegian to the list as wellFabbri wrote:What a stirring example of international connectivity: someone in Cornwall responds to a French request for information which is then supplied from America about a woman born in Germany who married an Englishman. And the answer lies in Ireland....
You're welcome!Fabbri wrote:And thanks to you, too, Frank, for the Musica Viva references and the report on the progress of your research.
Lagrima. Yes it is unmistakably Tarrega and unmistakably Spanish but it still differs in several details from the stereotypical Tarrega piece and I think we can find many of those same elements in Pratten's miniatures. According to wikipedia (not the most reliable source of info) Tarrega wrote Lagrima whilst visiting England and that must have been shortly after he had met Pratten.Fabbri wrote:Which Tarrega piece was it? I'd like to see if I can detect the relationship between their styles.
How about "late romantic, proto-impressionistic tone paintings"? Edward MacDowell is of course the most obvious comparasion among the famous composers.Fabbri wrote:I can feel a characteristic style in Pratten but find it hard to put my finger on what exactly this consists of.
I haven't had time to examine the book closely yet but I don't think so. All those things you list are actually quite typical for 19th century methods although not for modern ones. The only really unusual (for her time) detail I've noticed is that she describes a sitting position that is fairly close to the modern classical one.Fabbri wrote:Am I right in thinking her method is equally distinctive?
Unfortunately no. Nor have I managed to find a copy of the catalog of her works (yes, she did publish one herself).Fabbri wrote:Have you access to a copy of the 1899 Harrison biography?
You could of course also just call it "pretty music", cause that's what it is.Fabbri wrote:"Proto-impressionistic tone paintings". That gives me something to think about.
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