Am Wed, 9 Mar 2005 00:35:32 +0100 schrieb Thomas Schall <[EMAIL PROTECTED]>:
> We know that Weiss played continuo. The tuning is not certain. > Baron's remark on page 131 of his "Untersuchung" suggests that the theoboes > of his time would have been tuned similar to a baroque lute to avoid > "relearning" of the instrument. He also speaks of double courses for the > theorbo (except the basses which woul dbe single-strung). if one reads the > complete passage it could remains uncertain what instrument Baron refers to. > As far as I know the surviving german theorboes of that time are > single-strung. > Baron does not speak of a certain tuning of Weiss's theorbo. > Weiss speaks in a letter to Mattheson about him owning an instrument which > would be similar in "size, length and force" to a theorboe but with a > different tuning. He doesn't clearly say which tuning it is. One can assume > it is a d-minor tuning (giving the arguments delivered by Baron) but it's far > away from proven. Dear all, from a temperaments view it would be much likelier that Weiss used a mandora tuning in E or D, maybe without the first string as Baron (?) suggested (?). I don't have the passages at hand to see if this reading is possible. Anyway, theorbos, archlutes and mandoras could be set up in the usual 18th century temperament (according to Tosi, L.Mozart and others), based on a 55 division of the octave. This is somewhere between 1/6 pythagorean and 1/6 syntonic comma meantone and an old hat. Baroque lute tuning on the other hand has to be ET to function. Best regards, Stephan -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/m2/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
