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[26] [27] [28] Museums with his work on display, include the Metropolitan Museum of Art in New York, Museo del Violino in Cremona and the Royal Academy of Music Museum in London. However, there are a few performers who have played with Nicola instruments, Thomas Bowes plays a Nicola Amati violin, [29] and Chi-chi Nwanoku (OBE) plays an Amati ...
Often considered the most eminent violin maker of the family, [3] [4] he improved the model adopted by the rest of the Amatis and produced instruments capable of yielding greater power of tone. [5] His pattern was unusually small, but he also made a wider model now known as the "Grand Amati", which have become his most sought-after violins.
Since Taylor Swift’s new album is called The Tortured Poets Department, perhaps the most appropriate book is Invisible Strings. It’s a gathering of 113 acclaimed poets (like, Pulitzer Prize ...
Don Nicolò Amati [1] (born Nicolò Marchioni or Nicolò Melchioni; [2] 1662–1752) was an Italian violin maker based in Bologna. In 1687 he entered priesthood. In 1687 he entered priesthood. He pursued both careers, priesthood and violinmaking, throughout his lifetime.
The double bass bears an original label "Nicolaus . Filei Hieronymi Filius An' (drea) Amatus" "Cremonensis Faciebat Anno 1680", the type of label Hieronymus II (also known as Girolomo II) used while still under the guidance and working with his father Nicòlo. This Amati double bass was most lately restored by Barnabás Rácz, Hungary, in 2006.
SiriusXM announced a new Taylor Swift station, Channel 13 (Taylor’s Version), ahead of her new album, "The Tortured Poets Department." Here's how to listen.
"Haunted" is 4 minutes and 2 seconds long. [17] It has an orchestral arrangement [18] containing sweeping violins, [19] tense accents, and dramatic countermelodies. [20] The production incorporates an alternating eighth-note line in the orchestral strings and the song's lead electric guitar, both of which mix to create an unabashed composite instrumental riff. [18]
William was appointed as "musician in ordinary for lutes and voices" in 1635 but had been writing music for the court prior to this. Lawes spent all his adult life in Charles's employ. He composed secular music and songs for court masques (and doubtless played in them), as well as sacred anthems and motets for Charles's private worship.