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While applicants are encouraged to use both the Librarian Manual and existing threads in this group as resources while taking the quiz, posting requests for assistance with the quiz in this group will not be allowed, and may also prevent the poster from being considered for librarian status. To begin, you will need to have created at least one borrower. Below is a list of our products and their current compatibility with Microsoft Windows 10.
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Augusta Holmès – La Nuit et l’amour
Augusta Holmès (1847-1903) was a French composer of Irish descent. Fiercely independent as the sole heir to her military officer father’s estate, she published under her own name (after starting out under a male pseudonym for a little while) and owned the rights to her work. She studied with Cesar Franck, befriended Franz Liszt, and generally walked with the best of the best in the artistic circles of Paris. She was also notoriously attractive, so the mingling was… also fairly literal. “We were all in love with her,” reminisced Camille Saint-Saens (who wasn’t typically infatuated with women). Though she never married in order to preserve her autonomy, she did have a long relationship and five children with poet Catulle Mendès.
While a sizeable portion of Holmès’ oeuvre is made up of songs and smaller choral works, the best way to describe her style is that she wrote big. Very big, in a very French way, and typically intensely patriotic and political… in a time when women were supposed to write softer, homier things if they composed at all. Surprisingly, La Nuit et l’amour (Night and Love), as charming as it is, is no exception to the composer's so-called virility. On top of the already massive orchestration (four bassoons!), it’s part of a longer 1888 work called Ludus pro patria (Patriotic Games), which is inspired by a mural painting of the same name, involves even larger orchestral forces and a choir, features text written by Holmès herself, and has not been recorded in full. This particular interlude has been recorded on its own, but only twice. Out of the two recordings, we’ll be playing along with the Rheinland-Pfalz State Philharmonic. This was the first-ever recording of this piece; it takes some mild liberties by adding an organ (or a harmonium?), but that’s not in the actual score, so don’t mind that there isn’t a part for it. If you want to hear the other recording of this piece with original instrumentation, check out this recording from the Orchestre de l'Opéra de Lyon.
The hunt for the sheet music to this piece has been an exciting and at times frustrating one. None of the original score to Ludus pro patria is on IMSLP or any public domain resource; there are parts to an arrangement of La Nuit for string quartet, organ, and piano, as well as a piano and choir reduction of all of Ludus, but of course that’s not quite right, so I had to go digging. Through an especially helpful friend, I was able to reach the assistant conductor of the Cincinnati Symphony, which performed the piece at the start of 2020, but even he couldn’t get access. Nor could the librarian for the Portland Symphony, scheduled to perform it in early 2021, current situation willing. I eventually turned up information on a professor at Brown University, Mark Seto, who’d prepared performance materials for La Nuit several years ago. He let me know that Holmès’ will requests that none of her work be published for the first time posthumously. While that’s the reason this has been such a goose chase, and it may also be impossible to provide any engraving of the piece to IMSLP in good faith, I am able to distribute Prof. Seto’s transcription to all of you thanks to his generosity.
Lastly, I want to mention that this project is dedicated to the memory of United States Supreme Court Justice Ruth Bader Ginsburg. I’ll be using the video to list an array of charities aimed at promoting equality and social justice for women, including trans women.
If you have questions or need help, feel free to ask here, or join me and everyone else on the Discord!
Below is the sheet music for this piece.Thank you to (the aforementioned) Prof. Mark Seto for providing the score. I’ve re-transcribed it myself in order to add back two omitted bassoon parts, fix various engraving quibbles, and allow people to access XMLs and transposed parts as needed. All credit, however, still goes to him.
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Please also read the performance notes below!
The final date to submit your recordings is November 1. Submit them here!
- Flute (1, 2)
- Oboe (1, 2)
- Clarinet in Bb (1, 2)
- Bassoon (1, 2, 3, 4)
- Horn in F (1, 2, 3, 4)
- Trumpet in D (1, 2) (Bb and C parts available)
- Harp (1, 2)
- Violin 1 (divisi)
- Violin 2 (divisi)
- Viola (divisi)
- Cello (divisi)
- Double Bass (divisi)
- General: A = 442 Hz. Go absolutely wild with the schmaltz on this piece. All the emotions.
- Some Markings You Might Not Recognize: sospirando = sighing; son d’echo = like an echo
- Winds and Horns: Some of the engraving is a little bit wacky with regards to ties and note lengths, but that’s taken straight from the original manuscript, so not entirely my fault. There’s no fancy legato tonguing shenanigans or anything.
- Flutes and Clarinets: I’m treating the duets at C and D as solo opportunities. The best take of each part will be featured!
- Horn 1: There’s a passage at the end with a bunch of accents. It’s articulation, not volume. Again, straight from the manuscript.
- Trumpets: Are scored in D thanks to the rest of Ludus being mostly more friendly to D trumpets. I have provided Bb and C parts, but you are literally playing for five bars. Don’t worry too much about it.
- Strings: Fixed engraving errors on 10/5; please redownload if you grabbed the parts on day 1. Tasteful glissando on big shifts is welcomed. Every single double stop is marked as or can be played divisi; even the basses have it (!). As usual, if you need help, feel free to ask me!
- Violins: You need mutes - you know, the little rubber kind that is very inexpensive in case you need one. Please follow sul G markings if at all possible. In case measures 9-24 are tripping you up: you’re trilling between the two marked notes for a beat (violin 1 on beat 2, violin 2 on beat 3); don’t cross strings as part of this. The augmented fourths are a bit awkward for those with smaller hands like myself, but they’re a bit better if you move your elbow under, as you would while shifting up.
- Cellos: At G, in a real-life setting this would be four-part divisi. Just pick one of either the top two or bottom two notes (depending on which 2-part div you’re playing at the time). If you’re an Audacity or DAW user, you can multitrack the extra note in (which note you add would depend on whether you’re top or bottom divisi for the rest of the piece), but please make sure you’re in tune on both, because it’s not easily possible for me to correct intonation on anything that isn’t monophonic.
The Glass Box: Secretary Wanted; Thoughts Regarding a Recent Ban
submitted by Squrlz4Ever to Snorkblot
\"The Glass Box\" is a metaphor for a transparent management style. Much of the Snorkblot staff discussion and work are conducted in The Glass Box (TGB) posts, just like this one.
Hello, Dear Snorkels. Many of you are already familiar with this feature; for those of you who aren't, "The Glass Box" is where I discuss topics related to the management of the subreddit. We've got a lot of smart members and I always enjoy the ideas and feedback, positive and negative, that these columns elicit. If you're fairly new around here, I'm hoping this content will help you better understand who we are as a community and what it is we're trying to accomplish.
On Friday, Nov. 6, the moderation team held its monthly meeting. During the meeting, the team approved my request to recruit a new member -- specifically, a secretary. We conduct the business of the subreddit by loosely following Robert's Rules of Order (AKA, parliamentary procedure) and we're looking for a volunteer who will take responsibility for the minutes of the monthly meetings and keep the subreddit's records in order. In exchange, the individual will have full moderator privileges, participate in all votes as a board member, and be one of the office holders of the Snorkblot endeavor (the other office holder being yours truly).
I'd estimate writing the monthly minutes will take about 1.5 to 2 hours per month, with other recordkeeping tasks maybe requiring another hour per month.
A few thoughts regarding the position:
A RECENT BAN
On Nov. 12, the moderation team voted to ban a new user who claimed to have been a part of IAB about a decade ago (and I have no reason to doubt him). Banning of anyone who has any history with this community isn't done lightly and seldom occurs. We took a confidential ballot over 24 hours, and at the end of the vote, 6 of us had voted Yea. (One user had a family emergency and was unaware of the vote; when that late ballot was cast, the vote was unanimous.)
The ban recipient was a Trump supporter who seemed to be on a mission to have the results of the 2020 presidential election thrown out. Not surprisingly, he responded to his ban by claiming the moderation team was following a "far left" agenda. That was as predictable as it was wrong. I'd like to offer up several points in response.
Best regards to all and, to our American Snorkels, have a Happy Thanksgiving!