here's a translation of the last 4 paragraphs: "....Giazotto--contrived by the author to seem to be by Albinoni--or perhaps to resemble the hackneyed and fascinating Adagio for Strings of Samuel Barber. Its compelling presence suggests one or the other, or perhaps still another composer of those obligatory works that get brought into play on ceremonial occasions of institutional mourning. In accord with what happened with the celebrated piece of Giazotto, the clearly improbable provenance of which was deliberately hidden, we recall the original case of the north American composer of Ukrainian origin, Roman Turovsky-Savchuk. It is he who, in implicit disguise, is behind a long list of tombeaux written in baroque style with the highly baroque pseudonyms of an imaginary family of Bohemian lute players, the Sautscheks (Johann Geog, Johann Melchior, Johann Peter...) The works are disseminated on the internet, where they receive a passionate response for, among other things, their unquestionable musical quality. The body of work of this suggestive historical game includes a good number of pieces of fiction cleverly similar in their style. They are dedicated by the Sautscheks to deceased members of their own family, to central European composers of the first rank (CPE Bach, JCF Bach, Locatelli, Tuma, Kraus, Wagenseil, Zelenka and--a nice touch--several to Froberger) as well as to other relevant personalities of the cultured world of the eighteenth century (Goldoni, Lessing, Klopstock). But now Turovsky-Savchuk adds two more tombeaux, this time conceived for the viola and dedicated to Telemann and Forqueray. Let us finish by returning to all the strings. To the cry of agony of the works of Penderecki, to the stream of tears of Barber, played on the baroque lute of Turovsky-Savchuk or, as well, on the arabic lute of Sanchez Verdu. They are equal if they are anything. They grasp at life as its sounds evaporate.They grasp at the sound that dies, never to be reborn. One perceives the mythic lyre of Orpheus grieving for Euridice. And also the Seikilos epitaph, calling to Euterpe from the living world. But above all, one remembers the weeping strings of the guitar to which Lorca alludes, the tears which Estrella Morente evokes, wailing ceaselessly before the tomb of his artist father. Pablo de Pozo" On 10/5/2014 3:49 PM, Mathias Roesel wrote:
si, pero por desgracia en Espanol Mathias -----Original Message----- From: [1]lute-...@cs.dartmouth.edu [[2]mailto:lute-...@cs.dartmouth.edu] On Behalf Of [3]r.turov...@gmail.com Sent: Sunday, October 05, 2014 5:30 AM To: BAROQUE-LUTE Subject: [BAROQUE-LUTE] Tombeaux y lamenti A very interesting article on tombeau (and lute), by Pablo del Pozo: [4]http://www.sineris.es/tombeaux2.html Enjoy, RT To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute- admin/index.html -- References 1. mailto:lute-...@cs.dartmouth.edu 2. mailto:lute-...@cs.dartmouth.edu 3. mailto:r.turov...@gmail.com 4. http://www.sineris.es/tombeaux2.html 5. http://www.cs.dartmouth.edu/~wbc/lute
