Dear Bill,
Some things are, indeed, less certain than others (which is why it's
prudent to speak in terms of significant probabilities) so that, for
example, octaves on basses are less certain than other things. Thoough
in the case of Dowland I don't understand the logic of linking his
instructions for stringing to works by other lutenist composers....
But the discussion was around the position of the right hand. In this
case the historical evidence is very clear (close to the bridge).
Naturally, there are those who have developed a modern technique which
does not easily allow this and I suppose their concious (or
sub-concious) prejudices and wishful thinking make them seek
explanations along the lines of: 'I like it this way - and the Old Ones
would have too if only they had my sense and sensibility'...........
But putting such thoughts to one side, the real issue is how else are
we to attempt to recapture as best as we can what the early composers
had in mind and what their auditors expected to hear; other than by
looking at the historical evidence rather than to our own prejudices.
regards
Martyn
--- On Tue, 27/3/12, William Samson <willsam...@yahoo.co.uk> wrote:
From: William Samson <willsam...@yahoo.co.uk>
Subject: [LUTE] Re: Right hand plucking position - was Re: Quality
vs Quantity
To: "David Tayler" <vidan...@sbcglobal.net>, "lute"
<lute@cs.dartmouth.edu>
Date: Tuesday, 27 March, 2012, 8:23
Good points all, David (as far as I understand them :o\ )
One great example is that of renaissance ornamentation. When we
compare the 'Varietie' versions of Dowland with MS versions of the
same
thing (for example the King of Denmark's Galliard, or the Fantasie)
we
find that MS versions are dripping with ornament indications. I
HAVE
heard people attempting these, but usually as a demonstration
between
consenting lutenists - not something to be incorporated in a public
performance or on a CD.
Diana Poulton was pointing this out (as well as pinky down) long,
long,
long ago, but none of the pros (and few of the ams) at that time
paid a
blind bit of heed. Since then, pinky down seems to have become the
norm, but as you say, renaissance ornamentation is tucked away out
of
sight.
A serious point is that exploration of authentic playing practice
very
often comes from the amateur side of things, where they don't HAVE
to
make the lute sound that audiences have come to expect, to earn a
living.
Let's not give up on these things, fellow amateurs. The
professionals
will eventually follow us, though it will be a L-O-N-G haul . . .
Bill
From: David Tayler <[1]vidan...@sbcglobal.net>
To: lute <[2]lute@cs.dartmouth.edu>
Sent: Tuesday, 27 March 2012, 6:58
Subject: [LUTE] Re: Right hand plucking position - was Re: Quality
vs
Quantity
This is a weight of evidence vs "minority report" scenario (sorry,
I'm
from the Berkeley area and we value our Philip Dick)
So for example in the lute world you can say do you want octave
stringing on Dowland?
And the weight of evidence answer is, No, because 90 percent of
the
sources, or more, show octave stringing.
But of course we have Dowland's instructions.
So the issue is, how do you balance these things? And that
requires
some finesse.
Starting with rule No. 1, the uniformity rule, we can immediately
see
that there was no one way of doing things. Then we proceed along a
line
of research, addressing a specific repertory, in a specific time
and
place, possibly even a special group or school of playing.
Then the question changes, and you are left with, well, some did
this,
but most did this, WHY did they do this and WHO were the ones
doing
it.
And then you make a judgment. You don't always know the who and
the
why, and that is the musical archeology part, building the house
from
a
brick or two.
Each person has to decide, do they want to be in the majority or
the
minority? Well, then you are making the same judgment that someone
back
then would make.
I would add, from a personal point of view, that there is also a
compelling necessity. So for example, after playing for for X
number
of
years, I can say, well, I tried it that way for forty years, well
forty-four years, and it still feels wrong. That isn't history, it
is
kinesthetic sensibility. On the larger scale of things, that
follows
the neoplatonic ideal that the hand and eye should be the measure
of
all things.
It is always good to try it: plant that pinky and try it. I try it
all
the time. And fail.
The whole musicology issue is a glorious way to re-imagine the
past,
not give pinky parking tickets.
So for example I have never seen a piece of renaissance lute music
played with renaissance ornamentation. So I could become grumpy
and
categorical, or I could say, wow, this is so cool, that this is
right
around the corner, can't wait to see this,
License my roving hands, and let them go
Before, behind, between, above, below.
O, my America, my Newfoundland....
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