>Yes - it's a pity that many lute players repeat the same >pieces all over
>again. But in difference to the guitar world we do have a >vast repertoire
>and it's work for generations to bring it back on stage.
Regardless of how huge the repertoire is, either in the guitar world, or
lute world, people play the most popular and well composed stuff.
However, there are still some who insist on torturing themselves and
others.... Taunenbaum I've heard has done yet another recording of
Hense's "Royal Winter Music". I rather be eaten alive by South American
Ants!
Michael Thames
www.ThamesClassicalGuitars.com
----- Original Message -----
From: <[EMAIL PROTECTED]>
To: <lute@cs.dartmouth.edu>
Sent: Thursday, March 31, 2005 12:22 AM
Subject: Antwort: Re: memorization
>
>
>
>
>
> Yes - it's a pity that many lute players repeat the same pieces all over
> again. But in difference to the guitar world we do have a vast repertoire
> and it's work for generations to bring it back on stage.
> Just to tell a possible reason why the same pieces are played again and
> again: When I ask the responsible person(s) for a recital what I should
> play they will tell Bach and to a lesser degree Weiss. When I don't ask
> even a "Galanterie" by Blohm is considered as "by Bach" from them (those
> who know the pieces will know why I am naming this one - it has simply
> nothing to do with any work by Bach).
> I think it's the same with the guitar. There are a few pieces which are
> fairly well known and that's what the performer is asked to play. I have
> made good experiences with playing a different repertoire.
>
> BTW: I don't memorize the music.
>
> Best wishes
> Thomas
>
>
>
>
>
> "Michael Thames" <[EMAIL PROTECTED]> am 31.03.2005 04:32:16
>
> An: "lute net" <lute@cs.dartmouth.edu>, "Denys Stephens"
> <[EMAIL PROTECTED]>
> Kopie:
>
> Thema: Re: memorization
>
> Stephan wrote,
> >Segovia (whom I admire greatly) did much to establish >the form and
> content
> >of the guitar recital format, which included playing from >memory, but it
> has
> >to be said that the content of his performances was >predictable.
> >There are only so many times that you want to hear the >Bach Chaconne,
the
> >Villa Lobos preludes and so on before your ears glaze >over
>
> Yes, I totally agree!!!! So why is Paul Odette's next CD going to
> have
> 3 Bach suites, and one Weiss. Why did Nigel North, record the Chaconne
and
> a 4 CD set of all Bach, and one Weiss suite, Edwardo Egez 2 CD's of all
> Bach? and no Weiss. I'll tell you why....it's marketed to guitarist's.
> All this for an instrument Bach never wrote anything for in the first
> place, all transcriptions, just like the guitar.
> Michael Thames
> www.ThamesClassicalGuitars.com
> ----- Original Message -----
> From: "Denys Stephens" <[EMAIL PROTECTED]>
> To: "lute net" <lute@cs.dartmouth.edu>
> Sent: Wednesday, March 30, 2005 4:01 PM
> Subject: Re: memorization
>
>
> > Dear Michael,
> >
> > You wrote:
> >
> > "I wonder if lute concerts will ever be on the level of guitar concerts
> > where lutenist's have the proper professional stage presence to not be
> > staring at their music all the time. This might give them more appeal
to
> > the general concert going public, and more acceptance by guitarist's. I
> > always felt a little jiped when a guitarist would play a concert sight
> > reading the whole thing, I thought they didn't spend enough time
learning
> > the music."
> >
> > Funnily enough I don't take great exception to this, although it baffles
> me
> > as to why you would want to be in the company of lutenists if you think
> so
> > little of our ability as performers!
> >
> > The paths of lutenists and guitarists diverged 30 years ago - there is a
> > tradition of playing from tablature amongst lutenists, but I would not
> > necessarily equate it with sight reading. I think you will find most
lute
> > players spend as much time studying the music and developing their
> > interpretations as any guitarist - it's just a different way of working.
> > The lute repertoire is very significantly larger than that of the
> classical
> > guitar.
> > Segovia (whom I admire greatly) did much to establish the form and
> content
> > of the guitar recital format, which included playing from memory, but it
> has
> > to be said that the content of his performances was predictable.
> > There are only so many times that you want to hear the Bach Chaconne,
the
> > Villa Lobos preludes and so on before your ears glaze over, whether
> played
> > from memory or not. I don't know what others on the list think, but I
> have
> > certainly noticed a marked reduction in the number of classical guitar
> > recitals since the 1980's and I think the lack of repertoire is very
much
> > part of that.
> >
> > Lutenists, by way of contrast, have a sufficient wealth of repertoire to
> > play concert after concert without playing the same piece twice. I'm not
> > claiming that we always do that, but there is great scope for variety.
> > We don't need to hang our careers on grandiose "interpretations" of the
> > same few pieces. Renaissance music is not Romantic music (in the
> > context of the music history definition of the word) - the players role
> is
> > often to detach one's ego from the performance and let the music
> > speak for itself.
> >
> > So it's a different world to that of the classical guitar - please feel
> > welcome to be part of it, but try to understand that there are reasons
> why
> > we do things our own way.
> >
> > Best wishes,
> >
> > Denys
> >
> >
> >
> >
> > To get on or off this list see list information at
> > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> >
>
>
>
>
>
>
> CONFIDENTIALITY : This e-mail and any attachments are confidential and
> may be privileged. If you are not a named recipient, please notify the
> sender immediately and do not disclose the contents to another person, use
> it for any purpose or store or copy the information in any medium.
>
>
>
>
>
