--- In earlyflute@yahoogroups.com, rod cameron <rcameron@...> wrote:
>
> When Catriona Scott posted recently that she had an original Triebert
> flute needing a new home, Ron Harvey wrote:
>
>
> From: tw45ph <ron.harvey@...>
> Subject: Re: TRIEBERT FOR SALE
> To: "DAVID SCOTT" <david.scott121@...>
> Date: Friday, 20 November, 2009, 14:42
>
>
> One hopes that this was not intended to infer that Mr. Cameron
> recommended http://launch.groups.yahoo.com/group/earlyflute as a
> place to advertise an item for sale.
>
> The terms and conditions which we agree to when we join a Yahoo group
> are clear enough about it: You may not use a group for commercial or
> advertising purposes, or any other form of solicitation, except in
> those areas (such as shopping) that are designated for such purpose.
>
> R.H.
>
> ]


  Which was sent as a private message, to avoid this sort kerfuffle, which was
already seen before, to no good effect.

  Another of Yahoo's published guidelines is that:

  You may not post content which infringes the intellectual property, privacy or
other rights of third parties.

  Instead of repeating it all over again I suggest to search the group's online
archive for "advertising", there being nothing so useful to add to what was not
said before at some time or other.

  There was this for instance:



Re: [earlyflute] "...any other form of solicitation",
Sat Oct 20, 2007 5:00 am

Dear Ron,

Thank you for this clarification.

best wishes!

Rod Cameron



On Oct 19, 2007, at 6:09 PM, Ron Harvey wrote:

> >>I am not quite sure what the earlyflute rules are for us
> flutemakers, >>regarding posting one's brochure, as it may be commerce
> rather than >>scholarship?
>
> >>However, there was a legit request here for suggestions. Is the
> >>correct procedure to send one's brochure as a private email to Toni?
>
> >>I would like to know the official procedure for my own
> >>clarification, anyone?
>
> >>...Rod
>
> What a refreshingly pleasant display of conscience. Yahoo members
> elsewhere appear to prefer to believe that the rules need not apply to
> them.
>
> Otherwise the fact of the matter is that every member subscribed to
> Yahoo had to tick a checkbox to agree to the Terms of Service
> according to which,
>
> "You agree to not use the Service to:
>
> .... upload, post, email, transmit or otherwise make available any
> unsolicited or unauthorized advertising, promotional materials, "junk
> mail," "spam," "chain letters," "pyramid schemes," or any other form
> of solicitation, except in those areas (such as shopping) that are
> designated for such purpose..."
>
> Links to the ToS and sundry Guidelines are to be found at the foot of
> every Yahoo group web page.
>
> The Guidelines specify "commercial or advertising purposes", not just
> "commercial advertising".
>
> No problem though, presumably, if you by-pass Yahoo.
>
> --- RH.
>

EF folks,

I for one want to thank Charles for his posting of the links to the Cite de
Musique videos not merely for the pleasures of these fine performances
themselves, but also for providing the 'provenance' of the flutes used in them
-- which seems to me to be thoroughly consistent with the presumed aims and
goals of a forum such as this.  So my "bravas" for the excellences of the "Dance
of the Blessed Spirits," in particular, and th superlative ensemble playing in
general.  Wicked good.

By way of encouragement for such possibly outlaw postings -- and believing that
one good link deserves another -- I recommend the performance of Sebastian Marc
with the Ensemble Matheus on that 'other' early flute, in Vivaldi's "La Notte"
on youtube:

http://www.youtube.com/watch?v=qnIB_BDPU_w

Regards,
Stephen

This breton musician issues the best possible tribute to the 8 keyed wooden flute:

http://www.youtube.com/watch?gl=FR&hl=fr&v=YEKUZmwd-p8

H. Xmas

j.

Hello Rod,
If I remember correctly the last time Serge played 430 picc in LAF was when we
did Hérold's Zampa and he had not yet received the one you made for him but
instead played one you made for our friend François Lazarévitch. I think there
was a (bad quality audio) radio broadcast of one of the shows, of which I don't
have a copy,and whatever video is out there concentrates on the stage and not
the pit.
If I am allowed to say so here (wink wink--I refer of course to the "can we have
some clarity?" thread) your piccolos are legendary,S was very much looking
forward to getting his and I look forward to trying it too. Zampa is a pretty
silly opera from the 1830's but not at all easy,so it was kudos to him and the
picc that it worked so well.(btw I played an original Bellissent flute which was
kindly loaned by Alexis Kossenko and is a remarkable instrument).

About Bob Claire: I had the pleasure of hearing him play several times with LAF
and Petite Bande in the early 80's and the second traverso I ever owned was his
Denner copy.I think Harmonia mundi and ACCENT cd's with him can still be found.
I remember him fondly and wish him good things.

Finally, thanks for your kind words about the videos. I did hesitate to post the
links here,it being understood that this message board is meant for
contributions of a commercially disinterested and preferably non ego-tripping
nature, but I felt that if anyone out there would enjoy the concerts (which do
involve quite a lot of musicians)it was worth whatever breach of good taste or
ethics some may perhaps legitimately feel I had perpetrated.The fact that you
enjoyed them is justification enough for me.
all the best,
charles

--- In earlyflute@yahoogroups.com, rod cameron <rcameron@...> wrote:
>
> Charles,
>
> I am enjoying these videos!  Great quality, thank you for posting.
>
> The IH Rottenburgh originals are excellent at A400, and my colleague,
> Alain Weemaels, is masterful in capturing the best of these originals
> in his fine flutes. The playing is wonderful, Rudi Tutz's 8 keyed
> Grensers are sounding very nice ( and widely used around the early
> music community). Rudi and I have had a lot of fun in the past,
> meeting up in museums, Innsbruck, and even here in my California
> workshop, where we made various head joints together.
>
> Let me know if there are any videos yet where Serge plays my A430
> piccolo, it would be great to see these, as today's online video
> quality is so good.
>
> I keep in touch with traverso player, Robert Claire, once a member of
> the orchestra, and now struggling valiantly with a health issue that
> confines him to a wheel chair. He continues to teach, and recently
> wrote me ..."Rod, I have discovered that I love music more that my
> instrument playing.."
>
> best wishes!
>
> Rod
>
> On Nov 20, 2009, at 11:01 AM, czebley wrote:
>
> > Dear EarlyFlute Group,
> > Some of you may be interested in this and other "Les Arts
> > Florissants" concerts that are presently available for a limited
> > period of time in video "feeds" on the Cité de la Musique website.
> > The Gluck-Haydn-Mozart one has music of particular interest to
> > flute players and the singing and charisma of the wonderful Laura
> > Claycomb at the end should not be missed. Kristian Bezuidenhout
> > plays Mozart's concerto number 18 KV 456 on a Paul McNulty copy
> > (after Walter, I guess). The flutes are 8-keyed Grenser copies by
> > the Tutz workshop. Those of you who will be disappointed (or
> > disgusted!) that we played the Gluck (it's the Paris version of the
> > famous Dance of the Blessed Spirits with the d-minor solo) at A=430
> > on eight-keyed flutes will of course be right, since the French
> > pitch in the 1770's was probably still quite a bit lower than that
> > and most likely one-keyed french flutes would have been used,but
> > now that we know from seeing Sophia Coppola's movie that Marie-
> > Antoinette actually listened to rock music before she got what she
> > had coming I hope we can be forgiven.
> > Please also forgive the lack of self-effacement necessary for me to
> > post this but since we players had to sign away our "rights" over
> > the broadcast I think as many people as possible should enjoy the
> > result, paradoxical as that may be,anyway you don't see concerts
> > like this every day, so without further ado:
> > http://mediatheque.cite-musique.fr/VOD/20091108GluckMozartHaydn/
> > and for the "Grand Motets" conducted by William Christie (both
> > flutes and the piccolo played by Serge Saitta are Alain Weemaels IH
> > Rottenburgh copies at A 400):
> > http://mediatheque.cite-musique.fr/VOD/20091117LullyRameauCampra/
> > ...
> > charles
> >
> >
>
> Roderick Cameron
> rcameron@...
> PO Box 438
> 10580 Williams Street
> Mendocino,
> CA 95460,  USA
> studio 707 937 0412
> Home 707 937 9921
> cell:    707 813 7593
>

At 02:03 PM 11/20/2009, Steve Goldman wrote:
>My opinion on the matter is that I very much appreciate the
>occasional posting from one of the members who is selling a personal
>flute...If our mailboxes were clogged with solicitations from
>earlyflute it would be one thing, but as the matter stands, nothing
>objectionable has occurred. Hopefully others will express their
>opinion pro or con.

Steve,

Thanks for the message. I'm another of the scofflaws who's sold a
flute on the list, and the buyer seemed very happy with it. And I've
contacted others who've mentioned flutes for sale on the list. I
think the list would be a poorer place if these occasional For Sale
announcements went away.

Mitchell Gass

Dear EarlyFlute Group,
Some of you may be interested in this and other "Les Arts Florissants" concerts
that are presently available for a limited period of time in video "feeds" on
the Cité de la Musique website. The Gluck-Haydn-Mozart one has music of
particular interest to flute players and the singing and charisma of the
wonderful Laura Claycomb at the end should not be missed. Kristian Bezuidenhout
plays Mozart's concerto number 18 KV 456 on a Paul McNulty copy (after Walter, I
guess). The flutes are 8-keyed Grenser copies by the Tutz workshop. Those of you
who will be disappointed (or disgusted!) that we played the Gluck (it's the
Paris version of the famous Dance of the Blessed Spirits with the d-minor solo)
at A=430 on eight-keyed flutes will of course be right, since the French pitch
in the 1770's was probably still quite a bit lower than that and most likely
one-keyed french flutes would have been used,but now that we know from seeing
Sophia Coppola's movie that Marie-Antoinette actually listened to rock music
before she got what she had coming I hope we can be forgiven.
Please also forgive the lack of self-effacement necessary for me to  post this
but since we players had to sign away our "rights" over the broadcast I think as
many people as possible should enjoy the result, paradoxical as that may
be,anyway you don't see concerts like this every day, so without further ado:
http://mediatheque.cite-musique.fr/VOD/20091108GluckMozartHaydn/
and for the "Grand Motets" conducted by William Christie (both flutes and the
piccolo played by Serge Saitta are Alain Weemaels IH Rottenburgh copies at A
400):
http://mediatheque.cite-musique.fr/VOD/20091117LullyRameauCampra/
...
charles

Hello Stephen,

I was lucky and a few years ago I got some 3/4" Corian, but now it is
seldom made that thick.  I have a lot of 1/2" Corian too, and I have
found that ordinary epoxy glue works well to glue two pieces
together.  There are some precautions to take when gluing -- first
it's good to understand that the color may not be exactly even from
one part of a sheet to another or from one side to the other.  So
take two adjacent pieces and glue together what was the same side.
To make the join invisible, polish the two surfaces first with fine
paper on a perfectly flat surface to the point where you feel some
air resistance when you pull them apart.  A bunch of rubber bands
works fine to clamp them, and after a day of hardening, they can be
sawed, turned and drilled as one piece, no problem.

I haven't tried "reconstructed stone" at all.  I doubt if you could
turn it satisfactorily -- and I haven't seen any that resembled ivory.

As to where to find Corian, ask in places that install kitchens and
bathrooms if they have any offcuts in either Bone or Almond.
Sometimes a counter comes from the manufacturer with a backsplash (a
long piece a few inches wide to go along the back of the counter) and
if the customer is tiling the wall instead, the backsplash may end up
sitting in the warehouse for years and they will be happy to sell it.

Good luck!  - Mary





Good morning, Mary,

Corian has seemed to me to be a better choice than the polyester-based
artifical ivory that is commonly used in reproduction instruments, but
it is available in only limited thickness, no? What is your source for
Corian?

Another product that has interested me as an "ivory substitute"
substitute is something called "reconstructed stone" (eg, from Macecraft
Supply). Any experience with this?

Thanks,
Stefen

--- In
<mailto:earlyflute%40yahoogroups.com>earlyflute@yahoogroups.com, Mary
Kirkpatrick <mkirk7@...> wrote:
>
>  Greetings Chris,
>
>  Corian makes an excellent ivory substitute; I've been using it for
>  years, either "Bone" or "Almond" approximate the color of new ivory.
>  It takes a slight stain with nitric acid which one can rub down
>  carefully to achieve a somewhat antique look.
>
>  Beware that if there is a substantial thickness of tenon under the
>  Corian, it can crack when the wood expands. So keep the tenon thin
>  (when you are the maker...) and the Corian thick, and/or put a
>  winding of thread -- thin Kevlar or Dacron -- over the tenon, to
>  prevent expansion.
>
>  Mary

Good morning, Mary,

Corian has seemed to me to be a better choice than the polyester-based
artifical ivory that is commonly used in reproduction instruments, but
it is available in only limited thickness, no?  What is your source for
Corian?

Another product that has interested me as an "ivory substitute"
substitute is something called "reconstructed stone" (eg, from Macecraft
Supply).  Any experience with this?

Thanks,
Stefen


--- In earlyflute@yahoogroups.com, Mary Kirkpatrick <mkirk7@...> wrote:
>
> Greetings Chris,
>
> Corian makes an excellent ivory substitute; I've been using it for
> years, either "Bone" or "Almond" approximate the color of new ivory.
> It takes a slight stain with nitric acid which one can rub down
> carefully to achieve a somewhat antique look.
>
> Beware that if there is a substantial thickness of tenon under the
> Corian, it can crack when the wood expands.  So keep the tenon thin
> (when you are the maker...) and the Corian thick, and/or put a
> winding of thread -- thin Kevlar or Dacron -- over the tenon, to
> prevent expansion.
>
> Mary

Hello!

I can't find my parts of Carl Philipp Emanuel Bach's Sonata Wq. 85 in G.
I only found the flute part.

Has anyone also the obligato cembalo part?

Many thanks

Veronica

Thank you all for your help!!! I ll play them doted :-)

----- Original Message -----

From: nicollac

To: earlyflute@yahoogroups.com

Sent: Wednesday, November 11, 2009 10:57 AM

Subject: [earlyflute] Handel Sonata E-minor op1, 1b

 

Hello to everyone
Just a question for the semiquavers in the first bar. Why they are not doted at the first two beats and doted at the last two? Also in bars 2 and 6 the last 3 semiquavers are not doted while in bars 8and 16 are doted?
Thank you for your time
Nikos