Dear Bill,
Rather than travelling around with a bulky instrument, double bass
players sometimes borrow instruments from sources close to the
performance venue. However I'm told this isn't a wildly popular
practice since many instruments tend to be below par and in any case
most players only feel comfortable with instruments they know.
Of course, pianists make do with what they find but for pianos there's
a whole industry of people maintaining them in a fit concert state
(well, in thoery - a pianist friend recalls some horrific
experiences....)
regards
Martyn
--- On Fri, 2/11/12, William Samson <willsam...@yahoo.co.uk> wrote:
From: William Samson <willsam...@yahoo.co.uk>
Subject: [LUTE] Re: Chitarrone
To: "William Samson" <willsam...@yahoo.co.uk>, "lute"
<lute@cs.dartmouth.edu>
Date: Friday, 2 November, 2012, 9:06
Having reflected on what I said below, it needs to be said that
instruments - especially extended neck ones, are very expensive. No
musician can possibly afford to have one of everything -
particularly
as there are instruments whose repertoire can be counted on the
fingers
of one hand. So no blame to musicians who choose to buy mainstream
instruments.
I was wondering if there is some kind of 'lending library' or 'hire
store' anywhere with some of these more obscure types of instrument,
that a musician could borrow when needed? I know there is informal
lending of instruments between musicians so they can be used in gigs
that need them, but that's a bit hit-or-miss. Maybe something for
the
lute societies to consider? I know the Lute Society in the UK rents
out lutes - mostly to people who are saving to buy their own, but a
collection of more unusual ones for short-term loan would be another
thing.
Thoughts?
Bill
From: William Samson <[1]willsam...@yahoo.co.uk>
To: David Tayler <[2]vidan...@sbcglobal.net>; lute
<[3]lute@cs.dartmouth.edu>
Sent: Thursday, 1 November 2012, 19:46
Subject: [LUTE] Re: Chitarrone
I'm afraid you are correct, David. Of course Bob Spencer isn't to
blame - he just wrote up what was known at the time. The trouble
is
that much of what is now known (and much of what was known in
Spencer's
time too) hasn't been put into practice by musicians. How
many performances using the 'English' theorbo, with stepped nuts
and
double courses in the diapasons, have we heard? And yet the late
17th
century was a very rich time in the development of music and
instruments. According to Mace this theorbo sometimes had only
the
top
course tuned down an octave - There aren't many theorboes tuned
like
that these days.
There's still plenty of fallow ground for players of plucked
instruments who are prepared to stray from the mainstream and for
researchers to back them up.
Bill
From: David Tayler <[1][4]vidan...@sbcglobal.net>
To: lute <[2][5]lute@cs.dartmouth.edu>
Sent: Thursday, 1 November 2012, 18:28
Subject: [LUTE] Re: Chitarrone
Research into the Chitarrone stopped after the publication of
the
famous article by Spencer, et al. This had the astonishing
effect
of
erasing, removing and deleting the Chitarrone from the early
music
performance revival. Collateral effects include the sidelining
of
the
many other types of extended neck instruments that were
developed
in
the early 17th century. Renewed interest into the research of
this
and
other instruments will yield clues as to the specific meanings
of
the
contemporaneous terms as well as hopefully renew interest in
playing
the instruments.
Erasing instruments is not new; the dulcian was completely
erased
for
decades before one was discovered with an identifying label in a
sunken
pirate ship. Now people are playing it again.
--- On Tue, 10/16/12, Bruno Correia
<[1][3][6]bruno.l...@gmail.com>
wrote:
From: Bruno Correia <[2][4][7]bruno.l...@gmail.com>
Subject: [LUTE] Chitarrone
To: "List LUTELIST" <[3][5][8]lute@cs.dartmouth.edu>
Date: Tuesday, October 16, 2012, 6:11 PM
The Grove Dictionaire says about the chitarrone:
"The type of lute denoted by this humanist, classicizing
term
(chitarrone means, literally, a large kithara) was
associated
particularly with Jacopo Peri, Giulio Caccini and the other
early
writers of monody from the 1590s until about 1630."
Has anybody challenged this etymology? Wouldn't be safe to
say
it
simply derived from the chitarra (guitar)? Is was developed
in
the
first place to acompany, playing chordally from a contino
line,
just
as
the 5 course guitar would do, though without the struming
technique.
The solo repertoire that came later looks very close to the
guitar
writing: chords a little counterpoint, arpeggios, slurs,
campanellas
efect e so on...
--
Bruno Correia
Pesquisador autonomo da pratica e interpretac,ao
historicamente informada no alaude e teorba.
Doutor em Praticas Interpretativas pela
Universidade Federal do Estado do Rio de Janeiro.
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10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
11. http://us.mc817.mail.yahoo.com/mc/compose?to=bruno.l...@gmail.com
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18. http://us.mc817.mail.yahoo.com/mc/compose?to=bruno.l...@gmail.com
19. http://us.mc817.mail.yahoo.com/mc/compose?to=bruno.l...@gmail.com
20. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu
21. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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