4/4 Size Palatino VN-350 Campus Violin Outfit - $175.00 with Padded Case and Bow

This Violin Outfit delivers good tone through a hand-carved solid spruce top and solid maple back, sides, and neck. Features a fine tuner tailpiece, ebonized fittings, and inlaid purfling. Full size violin. The Palatino violin kit comes with Mongolian horsehair bow, rosin, and featherweight suspension case.

This instrument has been professionally set up ($65 value) with a new set of violin strings ($25 a set) and a new bridge ($18).  TOTAL Value-Added Service: $108

You can buy one on Amazon.com for $149.00 with free shipping, but you'll have to have a luthier set it up for you, and it will arrive with cheap Chinese strings and a mediocre bridge.  I've done all that for you for a fraction of the cost.



Palatino VN-350 Violin Outfit







4/4 Size Hand Carved Violin Outfit by H. Luger - $239.00 with Padded Case and Bow

H. Luger instruments are a cut above an economy instrument, but still offered at an economical price! Each instrument is fully hand-carved and graduated to exact specs for consistency and great tone. Fully carved solid spruce top, nicely figured solid maple back, sides and neck, and premium ebony fittings.

Includes an H. Luger brazilwood horsehair bow and suspension lightweight case!

To purchase, send $239.00 plus $25 for shipping and handling to http://paypal.me/sweetmusic

H. Luger CV301 Violin




Hire Celticado for St Patrick's Day Events

Celticado: Jim Bunting,
Adam Sweet
From Danny Boy to Dicey Riley, Butterfly to Blarney Pilgrim, Celticado's renderings of traditional Irish songs, ballads and dance sets will send you back in time and set your toes tapping!  Formed in 2004 by fiddler Adam Sweet and Guitarist James Bunting, the duo has played for audiences from Cairo to California and everything in between.  A typical set is a combination of original songs such as "Doolin To Dublin", "Lark O'Blarney", and "Paddy's Welcome" to crowd pleasers such as "Cockles and Mussels", "Irish Rover" and our personal favorite "Brennan on The Moor".  The band's traditional Irish ceilidh sets of jigs, slip jigs, slides, reels, hornpipes, polkas and more, will keep you dancing the night away.

My Take On Hampshire College's Financial Problems

I attended Hampshire from the fall of 1980 and graduated in January 1985 with a BA.  I studied mainly music, ethnomusicology, theory and composition.  My 6 exams were music-related, my final "Div III" was on the subject of Music Therapy. 

I appreciate Jon Krakauer's take on the situation at Hampshire.  (NYT Opinion 1/31/19)

I feel that the current president's position is short-sighted.  There is money to be found not only in alumni and matriculating students but in state and Federal grants that I feel have not been considered.  She's only been at this a few months and she has no experience in development.  She's made knee-jerk decisions without discussing it with the Hampshire Community.  Oh, there has been a flurry of such attempts these last few days, but these conversations and meetings should have started when President Lash was still at Hampshire.  How unfortunate. 

I have mixed feelings.  My time at Hampshire was interesting and I was allowed to pursue the topics that interested me most, that led to a career in music that, while not generating much in the way of income, allowed me to travel the world playing and exploring music, and most importantly, to offer a creative music studio for students of all backgrounds.  I'm confident I wouldn't know how to put that together without my experience at Hampshire doing just that.  It would be a shame for future creative students like myself to miss out on this opportunity.

Adam Sweet 80F

I have a student in Australia, NSW to be exact!

2004 Setup
I have been teaching remotely over the internet since the late 1990s.  My first remote student was a veterinarian who worked at a zoo in North Carolina.  Over the years, I've had students as far away as China and as close as Granville, Mass. 

I use a program called Google Hangouts.  It's super easy to use.  All you need is a Gmail account and it's free to access.  The program is super fast and works great on a laptop, PC, Mac or hand-held device or phone.  One of my students uses her iPad when the weather is too difficult for travel.

NSW
This week I was contacted by a young man in Australia who said he couldn't find a mandolin teacher and would I be willing to give him a few lessons.  I said yes of course.  It will mean getting up in the middle of the night but I think it will be worth it.

I know a bit about Australia, but next to nothing about NSW.  I learned that it is a state on the east coast of Australia. It borders Queensland to the north, Victoria to the south, and South Australia to the west. Its coast borders the Tasman Sea to the east. The Australian Capital Territory is an enclave within the state. New South Wales' state capital is Sydney, which is also Australia's most populous city.  When I learned this I was a bit shocked he couldn't find a mandolin teacher in the largest city in the country!  But then after a couple email exchanges I learned he's not actually in Sydney, he's about 600 kilometers away, hence the challenge!

Going to be fun.

String-Changing Clinic 1/30/19

I will be offering a string-changing clinic for violins, mandolins and guitars on Wednesday 1/30/19.  This is a free clinic for all of my students and just $15 per person for everybody else.  RSVP here

History of the Tarantella Dance

Tarantella dancers, 1828
 
Credit: Jstor.org

The tarantella is named for a peasant woman from southern Italy whose tarantula bite started a contagious dancing fever!

To medieval peasants in southern Italy, the tarantella was more than a catchy tune. It was something powerful and dangerous. The tarantella could save your life—or drive you to the brink of madness.

It was the dead heat of the summer in Apulia. The year was 1431. After a midday nap in the fields, a woman leapt up, crying out that she’d been bitten by a tarantula. The venom began to work in her body, making her dance convulsively. She strutted her way toward the center of town. Soon others joined her, leaping, shrieking, and twirling uncontrollably. They decked themselves out in bright colors and strange ornaments, dancing for days on end and downing vast quantities of wine.

The Tarantella was, at once, a rollicking party and a terrifying epidemic.

This is how Nicolas Perotti, a witness to these frenzies, described them: “Some victims called for swords and acted like fencers, others for whips and beat each other. Women called for mirrors, sighed and howled while making indecent motions. Some of them had still stranger fancies, liked to be tossed in the air, dug holes in the ground and rolled themselves in the dirt like swine.” It was, at once, a rollicking party and a terrifying epidemic.

The dancers believed that the only cure for the tarantula’s bite was to shimmy the venom away. There were even accounts of people who died as a result of not having the right music available. To avoid such disasters, many municipalities employed a corps of musicians to play yearly for the sufferers. The music cure was widely accepted by scholars at the time. Athanasius Kircher, a Jesuit scholar, penned a chapter on tarantism (the dancing affliction supposedly caused by the tarantula bite) that included his prescription for treatment: snippets of sheet music.

In some sufferers, the affliction took the form of a terrible melancholy. A woman who had become withdrawn and apathetic after an encounter with a tarantula could be cured with a special ceremony. This was the ritual: In a room hung with ropes, swords, and colorful draperies, she lies on the floor, as still as a corpse. The musicians strike up a tune. They play faster and faster, until finally life begins to return to her. She rolls around on the floor, flails her arms, and then leaps up. As the music stirs her, she begins to dance violently, to tear her clothes, swing from the ropes, even cut herself with the swords. Finally, exhausted, she falls on the floor and goes to sleep. When she wakes up, she remembers almost nothing of her treatment, but is free of her malady. The catharsis of her temporary frenzy leaves her ready to return to the course of normal life.

It’s a mystery what exactly caused these epidemics. It was certainly not the “bite” of the tarantula, which does little more than sting. Today, many scholars consider these dancing epidemics to be a response to mental, rather than physical, ailments. In the mass catharsis of the dance, people could express all the ugly feelings—anguish, rage, lust—that were unacceptable in everyday life. For a few days in the summer, people could scream and weep and tear off their clothes, freely and without judgment.

In fact, mass epidemics of dancing have afflicted various parts of Europe since the seventh century, breaking out particularly in times of famine, disease, and political unrest. In 1374, men, women, and children danced in the streets of Aix-la-Chapelle for hours, clutching hands, shrieking, seeing visions of Heaven and Hell. One eyewitness, Peter of Herental, described the scene: “Both men and women were abused by the devil to such a degree that they danced in their homes, in the churches and in the streets, holding each other’s hands and leaping in the air… Those who were cured said that they seemed to have been dancing in a river of blood, which is why they jumped into the air.”

History of the Carousel

By Erik Brown

How many times have you passed by one of these simple child’s rides? They’re almost universally present wherever you find a collection place of kids. The colorful horses, the simple carnival music, and the sounds of laughing are something I’m sure you’ve been exposed to. No matter how old you are, I’m sure you’ve ridden one of these amusement rides at some point in your life.

There’s something so innocent about the carousel.

I’m sure even looking at the picture in the beginning of this story has brought back some memories. For the vast majority of you, the memories will be pleasant. What could be dangerous about a carousel? Everything about the machine screams that it’s harmless and kind. From the slow moving horses, to the bright childlike colors, it brings you to a simple sort of calm. A calm of a peaceful world where all is good and well.

However, the carousel isn’t completely innocent in its nature. It comes from a bit of a dark past. It’s based off of a training tool for a hybrid man-horse killing machine called cavalry.

Early History Of The Carousel

The first recorded mention of a carousel came in the 1100’s during the times of the Crusades. Christian knights witnessed Arabic horseman playing a type of game. The horseman would ride in a circle and toss a clay ball filled with a pungent perfume back in forth between riders. The game required skill, being able to use a free hand to catch and using the other to maintain the horse. The Italians and Spanish knights who saw this game called it Carosella or “little war.”

Despite taking the form of the game, the Christian knights noted how seriously the Arab riders took the contest. As a form of training it would be excellent, being able to use a free hand nimbly while riding. A cavalry soldier would need this free hand to swing a sword or hold some type of lance.

A modern reader could also see that over the centuries men don’t change much. Not only would these men train, they would find a way to torture one of their friends at the same time. The poor guy who misses the ball and gets doused with perfume probably got was teased all day long. This is probably another reason the men took this game so seriously. The Western Crusaders noted the utility of this game and brought it back home with them.

The French called it Carousel and it became an equestrian competition and a training tool for mounted soldiers. In one of the competitions, the riders would attempt to spear rings that hung from trees with a lance. The French also developed a training mechanism for this competition. Wooden legless horses were hung by chain from posts, which originated from a central rotating pole. Horsemen would ride on this rotating training device to practice their lancing skills.

The popularity of this device spread beyond just cavalry, normal folk thought it looked entertaining. By the late 1700’s this device began to appear at festivals throughout Europe. There was a bit of an issue with the device though, it was either human or animal powered. As a result, the size of the device was limited.

“We have almost forgotten how strange a thing it is that so huge and powerful and intelligent an animal as a horse should allow another, and far more feeble animal, to ride upon its back.”
— Peter Gray

Mankind was permanently changed by the adoption of the horse in war. Its devastating ability is recorded over and over in history — even ancient history. The ancient Egyptians are often depicted with chariots in their armies, but they learned this equine warfare from being conquered themselves. An invading force named the Hyksos used horse driven chariots to dethrone the Middle Kingdom of ancient Egypt in the 17th century BC.

Cavalry caused unique problems for traditional armies. Armies generally moved at the speed of their slowest link. A complete army of horse bound warriors moved at blazing speeds compared to a traditional army made of infantry. Perhaps the greatest examples of this was the cavalry armies of the Steppe.

Dan Carlin in his Hardcore History podcast refers to the Steppe like an ocean with the water drained out. Its long miles of flat land seem to stretch endlessly into the horizon. These lands almost stretched from the Pacific Ocean to Europe and were a highway for a number of horse riding nomadic tribesmen. The long flat land provided perfect grazing area and space for horses. The people in this area also became riders of unmatched ability. The horse wasn’t only their transportation, it was their way of life. It also made them a match for the ‘civilized’ societies of the day.

The Scythians may have been the first horse people coming from this region. These early horse warriors, hailing from the area of Siberia, at one point spread to the borders of Egypt. They also took part in dethroning the original ancient superpower in the Middle East, the Assyrian Empire. The Persian Empire under the great King Darius also tangled with the Scythians and was unable to vanquish them. These horsemen just avoided the Persians, always able to keep ahead of them.

The Huns also came from the Steppe as well. They brought horses with them like most Steppe peoples and wreaked havoc on the Romans. At a point in the 5th Century A.D. the Romans were paying the Huns a tribute of 2100 lbs of gold a year.

The Mongols came from this area, conquering most of China and Russia. They also managed to take a good portion of the Middle East and came very close to conquering Europe as well. The mixture of Mongol and horse were often an unstoppable combo. There were very few armies that could even slow them down. They traveled with no supply train and were able to live off the land and their horses. Seemingly, the only thing that may have finally put an end to the power of the Mongols and their descendants might have been the modern firearm. Some have estimated that the Mongols and their cavalry may have killed 40 million people.

Horses may be looked upon with a kind manner in modern times. But, horses and the men who rode them were also instruments of war that brought devastation where their hooves trampled.

Modern Carousel
A major problem with the carousel was solved in the 1800’s — power. The power of muscle was a limiting factor in the size of the original carousels. A new invention was going to change this, however. In 1861 Thomas Bradshaw presented a steam powered carousel on New Year’s Day in England. The ability of a steam powered engine to drive the rig resulted in much larger carousels being built. The type of carousel the modern person would be more familiar with.

Some earlier carousels also kept the tradition of the cavalry training game of lancing rings (ring tilt). Early American carousels gave an additional challenge to certain riders. The riders on the outside horses were able to lean over and reach for a brass ring. This wasn’t an easy task and took a bit of nerve and skill. This is most likely where the phrase “reaching for the brass ring” derives from.

The carousel has been supplanted by quicker and more thrilling rides of the day. However, it is always present at festivals and carnivals. Strangely enough, it’s more of a children’s ride than anything in the modern age. Despite its history as a training tool for one of the most brutal instruments of war, it is now a playground for children.

Cavalry has also been made antiquated by the internal combustion engine. Horses have been replaced by trucks, tanks, and planes in modern armed forces. Man may have lost his understanding of the partnership between human and horse and how important it was. However, there are still examples of this partnership that can be seen. Rodeos and renaissance fairs are excellent places to see the traditional partnership of man and horse on display in modern times.

Hopefully after reading this, you’ll see the odd duality of this simple ride you once thought was innocent. The next time you pass by one of these spinning contraptions, I’m sure you’ll hear the laughter of children. But, you’ll know the original purpose of this device was a training tool for cavalry. You’ll also know the devastation this military unit could unleash.

Announcements

Chamber Ensemble


I have two announcements to make that are music-related.
  1. The first is a Mostly-Mozart group that meets once a month to sight read classical chamber music. Generally we read Mozart string quartets, but have been known to branch out into the Bach Brandenburgs if we have enough of a mix of players. So if you play a musical instrument and are a good sight reader, we'd love to have you join us on the last Friday of the month from 7pm-9pm in Granby. There is no cost to join us, but please RSVP so we know how many chairs to set out.  It's first come first served and there is only room for about 10 people!
  2.  Secondly, I have open slots in my schedule for violin, viola, mandolin and guitar students. 

2019 Spring Concerts and Upcoming Events

I have three active ensembles to offer venues.  Celticado is a traditional Irish duo that provides Celtic ceilidh music for weddings, parties and St Patrick's Day events.  The Mandolin Ensemble plays classical compositions for formal concerts, master classes and fund raising events.  The Contradance band Fiddle Hill plays for spring dances throughout the region.  Here's what's coming up soon:
  • My Irish duo, Celticado, will be performing for various St Patrick's Day and other Irish events in March.  Look for us mainly in CT and western MA.  I will post the locations soon.
  • Fiddle Hill, the Contradance band, will be performing for dances in April and May.
  • As always, the Mandolin New England has a new Mozart and a new Bach to perform for audiences in June and July.

Playing Music Together In A Small Group

Tuesday's Classical Group
Chamber groups are small ensembles such as string quartets and piano trios, who play music intended for performance in close chambers such as parlors and living rooms, churches, or virtually any venue smaller than a large concert hall. While their small sizes and are ideal for intimate settings, chamber groups can, of course, also perform in great concert halls. Chamber orchestras with fifteen or more players blur the definition of a chamber group somewhat; however, while chamber orchestras are relatively large, they remain small and "chamber-like" in comparison to the immense size and volume of full modern orchestras.

It's the best way to meet people. It's much easier than a party. You go to a party, you wonder if someone is going to be approachable or not, but when you play music together, somehow you're communicating immediately, and you go to that level socially as well. Once you start playing music, you can communicate in a way that you could never do just with words.

You form bonds with people you might not otherwise have a conversation with. But because you've shared something so personal, it becomes easier.

It's the ultimate egalitarian experience, because everyone is necessary all the time. Everyone's complete focus is necessary all the time. Everyone coming into the experience understands and respects that. We all realize that we're bringing our best, and we're each bringing unique contributions to the group.

That's one of the best things about it, too. Each person brings something unique, so you have access to the brains of the other people to make a product that you couldn't make on your own. Sometimes there are heated debates, but it's all in good fun.

Playing chamber music helps enhance your musicianship. It’s easy to ‘hide’ in a large orchestra or band, but in a small group your skills are much more exposed. You work harder to play accurately and in tune, to listen and blend, to create musical phrases – and as a result, these musical skills improve.

Thursday's Celtic group
Playing in a small group allows you to be more autonomous and independent. You can make your own rehearsal and performance decisions, and you can choose your own repertoire. You’re not beholden to a conductor. You can tailor your performances to your own interests and/or the jobs you’re hired to play.

Playing in a chamber group helps develop your communication skills. All members of the group have an opinion on how the music should be played. Listening to all ideas and implementing the ones that work best help to hone collaborative skills that you can use later on in college, your career, and in everyday life.

There is a wide variety of music available for almost any instrumental combination.  I offer 4 groups: Beginner's group, Classical group, Celtic group and Bluegrass group.  Some include piano and/or voice(s). Pops, holiday, classical, jazz, etc…. You can find just about anything by going online or checking with your music teacher.  Chamber groups are portable! It’s a lot easier to take a trio, quartet or quintet ‘on the road’ than a full band. Small groups fit better into more venues, creating more opportunities to gig.

Playing chamber music is both a social and musical activity. Start a group containing friends you already have, or start a group with people you hope to become friends with. Either way, you will have fun!

4/4 Size Palatino VN-350 Campus Violin Outfit - $175.00 with Padded Case and Bow

This Violin Outfit delivers good tone through a hand-carved solid spruce top and solid maple back, sides, and neck. Features a fine tuner t...