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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

Contributing Editors:

Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

Web & Wiki Master:
Jeff Harrington


Latest Posts

Imagine
In Terra Pax
Peak melody
How I Love You, My Dear Old Mammy
Fumio Yasuda's sensual 'Flower Songs'
To the Ramparts
Technobile
Music From Other Minds
Philadelphia Sounds: Radiance and Reflection
Babies and All That Jazz


 

Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019


Friday, November 25, 2005
Pushing the envelope

Does a 21st century transcription of 14th and 15th century music played on a 17th and 18th century organ qualify for Sequenza21? Well this post is all about pushing the envelope, which is precisely what French organist Louis Thiry has done with his new project Ma fin est mon commencement This is a recording of 21st century transcriptions by Thiry of polyphonic vocal works from the 14th and 15th century. The title comes from the three voice rondeau from Guillaume de Machaut, and the other composers featured are Guillaume Dufay and Josquin Des Pr�s.

For the full story of this contemporary reworking of Renaissance masterpieces, and the remarkable organ that it was recorded on follow An Overgrown Path to Ma fin est mon commencement.

The header photo also pushes the envelope. It is the fabulous Millau Viaduct in France, designed by Foster and Partners. No direct connection with the music, but in my view this is not a bridge - it is a performance installation. Just like Janet Cardiff's 40 Piece Motet, and Louis Thiry's transcriptions. Image linked from Wikipaedia.

Please report broken links, missing images, and other errors to - overgrownpath at hotmail dot co dot uk

 



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