![]() ![]() This paper examines the question of who was responsible for copying Bodleian Library Mus. It has led to a re-evaluation of pretty much everything we thought we knew about the books and their inception, and indeed the culture of music copying in England in the mid- to late-16 th century. The digital recovery of the Sadler Partbooks has revealed considerably more than simply the notes written on the pages. The Sadler Sets of Partbooks and Tudor Music Copyingĭiscussants: Owen Rees (University of Oxford) and Magnus Williamson (University of Newcastle) Julia Craig-McFeely (DIAMM, University of Oxford) Margaret Bent (Convener, All Souls College) If you have questions, please just send an email to Matthew Thomson ( ), who is dealing with the practicalities of holding these seminars via Zoom. With their musical virtuosity, five strong lead voices, newest technological instrumentation and love for the music, they have created a new sound taking them into a new age and performing the repertoire with powerful precision across the world.For each seminar, those who have registered will receive an email with the Zoom invitation and any further materials a couple of days before the seminar. Both Lambert and Traversa had extensive careers with top Brazilian artists with Lambert eventually making Brazil his home for some years now. Mark Lambert who worked with the band in the 80’s and Haslam’s solo band, replaced Michael Dunford on guitar, and Leo Traversa joined on bass. Keyes a few years later, two more musicians were recruited. The powerful sound of this new 6-piece version of Renaissance immediately impressed both fans and critics alike.Īfter the sad untimely death of Michael Dunford in 2012, and the medical leave of David J. This role went to Tom Brislin, already known throughout the progressive rock community for his work with Yes and Camel to name just a few. Finally the decision to add a second keyboardist to recreate the sound of an orchestra, took the band to new heights. Drummer, Frank Pagano with his impressive resume and long time affiliation with Tesar and Keyes, was the logical choice to fill that spot. Keyes was brought on board also from the Haslam band and became a part of the 2001 Renaissance tour of Japan. He also participated in the 2001 Renaissance Japan tour as well as two tours in Brazil with Annie Haslam. They were joined by Rave Tesar on piano who was the long time keyboardist and producer for the Annie Haslam Band. At this point Michael Dunford, the guitarist and primary songwriter along with Annie Haslam, decided to create a new Renaissance. ![]() Plans were made to bring the original band back together for a tour, but because of timing issues, it proved too difficult. Except for an album release (Lady From Tuscany) and a brief tour of Japan in 2001, Renaissance lay dormant until it’s 40th Anniversary in 2009. Eventually the group disbanded in the late 80’s at which time Annie Haslam pursued a solo career.ĭuring the following decades Haslam’s solo efforts rendered several albums and tours throughout the world which included some of the classic Renaissance songs in the shows. Over the next few years some members moved on to other musical projects or retired from the business. Highlights of this era included three sold out concerts at Carnegie Hall with The New York Philharmonic Orchestra and a sold out concert at The Royal Albert Hall with The Royal Philharmonic Orchestra and Royal Chorale Society, all of which were recorded and released as ‘Live’ albums. During their great success in the 70’s the band toured extensively throughout the world in support of their numerous album releases. Crowning all of this was the sound of the equally unique five-octave voice of Annie Haslam. With several personnel changes in the beginning years, the sound of the group eventually matured into a unique blending of folk, rock, and classical music including the integration of a full symphonic orchestra. Renaissance has had a long history spanning 50 years since it’s formation in 1969.
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