>> As to ergonomics: a slight variation won't matter much. But if you'd >> compared a Hoffmann against an Edlinger you wouldn't be asking this >> question. > Once again, I'm not talking about any modification with precedent in > baroque-era pieces. I'm sorry, but the best examples I can call to mind > are the "baroque" mandolini of Dan Larson and the barockmandolinen of > various current German luthiers (Dietrich, e.g.): nice lute-related > instruments with nice sound, but of dimensions/proportions unlike anything > of the baroque to rococo era, in spite of baroque inspired decor and gut > strings/frets. I'm certain there are proper-lute parallels, even if not so > obvious. Anlike anything baroque/rococo??? How so?
>> ...I could tell you that there is nothing wrong >> with playing vihuela music on a guitar, celesta, wurlitzer or any other >> instrument. However the same consensus would tell you that this has only >> about 10% of the pleasurability of vihuela music being played on a vihuela >> (when played as it should be, as in Ariel Abramovich). > > > I play vihuela music on a speculative vihuela too, although, unlike Ms. > Abramovich, without professional ability/aspiration. As I imagine Ms. > Abramovich feels, I really enjoy doing so. ...But that's a side topic and > was only given as an example of my not being offended by a _little_ > flexibility in reproduction luthiery. When I indulge in vihuela music (or > even 5-course guitar music) on modern guitar, I approach it as > transcription and enjoy it as such. This is fine. I personally have enjoyed trancriptions when played by sensitive musicians like Lagoya-Presti or Benitez, but going all the way is a lot better than half-measure, especially if there is a definite opportunity, ifyouacquiremydrift. RT ______________ Roman M. Turovsky http://turovsky.org To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
