Dear Arto and All:
Your comments raise for me a central question for the theorbo in this type
of ensemble: Is the goal to make oneself heard, so your friends can say,
"Yes, I heard the theorbo," or is it to become so completely integrated
into the ensemble that it becomes difficult to pick out one instrument? I
had one leader tell me that if the overall ensemble sounded good and the
singers stayed in tune, I'd done my job. (Yet when people see the theorbo
naturally they want to hear it!)
Or, as another teacher once suggested, we can "pick our spots." i.e., find
those moments when the theorbo can really make an important contribution,
and go for it.
Cheers,
Jim
Arto Wikla
<[EMAIL PROTECTED] To: Thomas Schall <[EMAIL
PROTECTED]>
i.FI> cc: lute@cs.dartmouth.edu
Subject: Re: Monteverdi concert
03/19/2005 05:09
PM
On Sat, 19 Mar 2005, Thomas Schall wrote:
> 8 hours of playing Monteverdi - must have been like paradise ...
Yep! Actually it really was! :-)
And especially when a guy like Andrew is directing the ensemble!
BTW: When A. L-K directs, for some reason or another, the problem of the
theorbo player is not the normal "how to be heard", but quite the
contrary: how to make yourself believe that even the piano of the theorbo
really is useful! And also in an ensemble of more than 20! Well, of course
the band was good for theorbo: 2 violins, a baroque harp, chamber organ
and a theorbo (+ about 20 singers). But sometimes I have had problems of
volume only with the "about 20" singers... ;)
Arto
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
