An 11-course, you meant... Regards Stephan
-----Ursprüngliche Nachricht----- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von John Lenti Gesendet: Dienstag, 20. März 2018 04:41 An: howard posner; lute@cs.dartmouth.edu Betreff: [LUTE] Re: Betrachte meine Seel Betrachte is a problematic number. It can’t be played without alteration on gallichon or archlute or swan-neck or theorbo or German theorbo or teorbe de piece or guitar or banjo or mandora or bandora or mandrill or budgerigar. A 13-course bass rider lute is the only thing I know of that can play the whole shebang without octave displacement of a couple of bass notes. That may be significant. Sent from [1]Mail for Windows 10 __________________________________________________________________ From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of howard posner <howardpos...@ca.rr.com> Sent: Monday, March 19, 2018 7:01:02 PM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: Betrachte meine Seel I’m back at home, looking at "Bach’s Continuo Group†by Laurence Dreyfus. Kuhnau’s 1704 memorandum to the mayor of Leipzig asked for money to buy “colochonen,†Kuhnau didn’t give a number, but “colochonen†is plural. Kuhnau explained that the colochon was a lute, but had a penetrating sound. Perhaps the explanation was necessary because the mayor was not musically knowledgeable, or Kuhnau knew better than to underestimate a bureaucrat’s ignorance. Martyn Hodgson directed the list in 2013 to an article that said the town council turned down the request; i.e., my earlier post was incorrect about Martyn. Apologies. I was unable to confirm whether any colochonen were purchased. In Das neu-eroffnetes Orchestre, Mattheson wrote that in churches and operas the sound of the lute was too small “and serves more to put on airs than to help the singer,†and the colochon was better suited to the task. It seems unlikely to me that the Leipzig lutenist (Hoffman? Weyrauch?) played continuo on a gallichon, then picked up another, weaker-toned instrument to play what is essentially an arpeggiated continuo part with a bass singer and two violins. But who knows? And of course, Bach replaced the lute obbligato in the St. John Passion with organ, and replaced the lute obbligato in the St. Matthew Passion with viola da gamba; it’s possible he decided that an obbligato on a lute of any sort was out of place in St. Thomas, which is a big place. > On Mar 19, 2018, at 12:38 PM, Howard Posner <howardpos...@ca.rr.com> wrote: > > The only evidence available about Leipzig in the early 1700s is that the mandora/gallichon was the commonly used lute continuo instrument. Bach’s predecessor as thomaschule cantor, johann kuhnau, asked the town council for money to buy a couple of them so he wouldn’t have to keep borrowing them. Somebody, probably mr. Hodgson, has pointed out secondary sources that say the request was granted, though the sources on which they rely aren’t clear on the point. > > Is anyone aware of evidence for archlutes in 18th-century Saxony? To get on or off this list see list information at [2]https://nam03.safelinks.protection.outlook.com/?url=http:%2F%2Fwww.c s.dartmouth.edu%2F~wbc%2Flute-admin%2Findex.html&data=02%7C01%7C%7C367c bb4e3389491d9a6b08d58e0628f8%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0 %7C636571079458149169&sdata=Cfp29hWztGovQwWxIapGY7ulZ3WrYNbeK5VgFeahvRo %3D&reserved=0 -- References 1. https://go.microsoft.com/fwlink/?LinkId=550986 2. https://nam03.safelinks.protection.outlook.com/?url=http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html&data=02|01||367cbb4e3389491d9a6b08d58e0628f8|84df9e7fe9f640afb435aaaaaaaaaaaa|1|0|636571079458149169&sdata=Cfp29hWztGovQwWxIapGY7ulZ3WrYNbeK5VgFeahvRo=&reserved=0
