Re: really good deals...
Stewart, That is an early warning sign, the cc's being in alphabetical order. It usually means someone has hacked a list, be it a list like ours, or even the list of an ISP. They limit the length of the list to get by volume filters. You may notice that sometimes the alphas are all the same domain name, and sometimes not. That gives a hint as to where they hacked. Best, Jon
Re: old lute LPs
eric burden once said that for anyone who sang it's my life and i'll do what i want and has kids, life is hell. For anyone, whatever their situation, the alternative is worse.
Re: N*geria Scams
Arthur, I don't remember what I wrote, or when I wrote it. (That little session of surgery has my mind a bit scattered, which was rather nice when a bit doped up). If I suggested that Chris Goodwin's warning was a hoax then I was wrong. For some reason Nigeria has been the home of scam artists for many years, and as has been mentioned done also with snail mail. The hoax is the Nigerian scams (why not Ivory Coast, or Liberia?). It would seem that there is an organized tribal mafia in Nigeria that has been making money for at least fifteen years off the gullible, they just happened to have found buying lutes to be a new target. I used to keep a folder on my computer for forwarding to the FBI, until I realized they are getting them also (even agents have personal computers at home). The Nigerian scams are also executed in neighborhoods in NYC from storefronts, so one doesn't need a computer to be solicited. (And that has been going on for a long time, well back into the 20th century). There is one basic rule of economics. There is no such thing as a free lunch! If the offer seems to be good to be true, then it is. Best, Jon
Re: German tablature facsimile
Hi Daniel, which book or Manuscript is the basis of your edition? Best wishes Thomas Am Mit, 2004-06-02 um 12.58 schrieb Daniel Shoskes: I recently bought a few lute items from an antiquarian bookseller and one item is completely unknown to me. It is a facsimile published in 1968 of Loutnova Tabulatura, a Czech manuscript from 1613 written in German tablature (which I can't decipher). Do the German tab enthusiasts (oxymoron?!) have any further info on this manuscript? Is it significant? Is there a particular page or piece that someone would be eager to have a copy or scan of? I can bring it with me to the LSA Cleveland meeting this month if anyone attending would like to see it. --
Re: Moot (off topic)
which would be Wittgenstein ... Thomas Am Mit, 2004-06-02 um 13.23 schrieb Roman Turovsky: if, however, criticism of this behavior is based on an understanding that they (the coalition) should know better then i suggest you read rudyard kipling's white man's burden to experience again the pomposity and embarrassment of such a notion. Re Kipling: Wovon man nicht sprechen kann, darüber muss man schweigen. RT http://www.fordham.edu/halsall/mod/Kipling.html __ Roman M. Turovsky http://polyhymnion.org/swv --
Re: German tablature facsimile
I received very comprehensive answers from Stewart McCoy and Arthur Ness which I think made it on the list (unless I misunderstand your question). Here is the summary: What you have is the facsimile edition of the lute book copied by Mikulás Smala z Lebensdorf (Nickolaus Schmall of Lebensdorf), scribe for Jaroslav Borita, Baron of Martinic (1589-1649), a participant in the Defenstration of Prague. (Protestants invaded the Prague Castle in 1618 and threw Jaroslave and two companions out the Chancellery window. All three surivived the fall. Catholics claimed it was a divine miracle. The Protestants claimed they fell on a pile of horse dung.) This is really a carefully and professionally copied lute book and the ciphers are quite legible, once you become accustomed to the shapes of the letters. There is a lute fingerboard depicted on folio 37v which shows the tablature ciphers, and their shapes in relation to the frets and courses. The book was compiled for Baron Borita and the pieces are of moderate difficllty, and consist of many popular dances and songs of the time. Hi Daniel, which book or Manuscript is the basis of your edition? Best wishes Thomas Am Mit, 2004-06-02 um 12.58 schrieb Daniel Shoskes:
Re: German tablature facsimile
I received very comprehensive answers from Stewart McCoy and Arthur Ness which I think made it on the list (unless I misunderstand your question). Here is the summary: What you have is the facsimile edition of the lute book copied by Mikulás Smala z Lebensdorf (Nickolaus Schmall of Lebensdorf), scribe for Jaroslav Borita, Baron of Martinic (1589-1649), a participant in the Defenstration of Prague. (Protestants invaded the Prague Castle in 1618 and threw Jaroslave and two companions out the Chancellery window. All three surivived the fall. Catholics claimed it was a divine miracle. The Protestants claimed they fell on a pile of horse dung.) This is really a carefully and professionally copied lute book and the ciphers are quite legible, once you become accustomed to the shapes of the letters. There is a lute fingerboard depicted on folio 37v which shows the tablature ciphers, and their shapes in relation to the frets and courses. The book was compiled for Baron Borita and the pieces are of moderate difficllty, and consist of many popular dances and songs of the time. Hi Daniel, which book or Manuscript is the basis of your edition? Best wishes Thomas Am Mit, 2004-06-02 um 12.58 schrieb Daniel Shoskes:
Re: Ice cream and gentleness...
Dear Arto, you know - I am playing for others, too, but why shouldn't it be me for whom I perform? It could also be me to whom I am sending a message. Not so difficult as to touch another one's hand - there is a certain resistance which needs to be bettered to play for others as in your analogy touch another one's hand. It depends on the personality if the resitance keeps you away from performing or not. There are many people around who are playing marvelous but restrain from playing in public. There could be many reasons for that (fear of stage-freight, fear that the performance may not be appreciated or whatever). I can only speak for myself: I have heard many bad performances (not necessarily by lute players) which convinced me that even I could join the list of (public) performers. And a certain black humour: If I am spending so much time to learn a piece or program I think I should share the pain grin. But I do well respect if someone decides to use the music as a private entertainment. And even when playing in public it could be that you are playing for yourself - a good way to reduce stage-freight BTW. Best wishes Thomas Am Mit, 2004-06-02 um 22.25 schrieb Arto Wikla: Dear musicians, I had a couple of beers with a (Finnish) lutenist, who only reads this list, doesn't write. We were talking of music - of course ;-) To whom do you play, to whom do you perform? He tended to think he plays to himself, mainly and basically only to himself. This is a very interesting question! To me to play is to send a message to the audience. To me playing to myself would be as being gentle to myself. As if I were touching gently to my left hand by my right hand... You know the difference to touch anothers hands? (BTW, I guess RT could find very rude analogies in his style?) But perhaps you could also think playing is as serving ice cream to yourself? Pleasing only yourself? To me playing music, anyhow, is always performing! To me there really is music only when there is a sender and listener. And perhaps that is why I am so lazy in practising? ;-) How do you feel, do you share gentleness to others, or do you eat your own ice cream, when you play? Arto --
Re: Moot (off topic)
Yes, but in this country if you ask someone: Do you like Kipling?, you'll get an answer: I don't know, how does one kiple?. Hence the dictum. RT __ Roman M. Turovsky http://polyhymnion.org/swv which would be Wittgenstein ... Thomas if, however, criticism of this behavior is based on an understanding that they (the coalition) should know better then i suggest you read rudyard kipling's white man's burden to experience again the pomposity and embarrassment of such a notion. Re Kipling: Wovon man nicht sprechen kann, darüber muss man schweigen. RT http://www.fordham.edu/halsall/mod/Kipling.html __ Roman M. Turovsky http://polyhymnion.org/swv
Re: Ice cream and gentleness...
But I do well respect if someone decides to use the music as a private entertainment. And even when playing in public it could be that you are playing for yourself - a good way to reduce stage-freight BTW. I think the latter can only be alleviated by the imposition of customs duties and excise taxes collected at the door. RT
Ukr. Lutes @ Lissberg-Ortenberg Festival
The festival site has some interesting recordings, FYPD. RT http://www.das-drehleier.net/seiten/KOBSAREN-MUSIK.htm
Re: Ukr. Lutes @ Lissberg-Ortenberg Festival
Roman, That's an interesting site. Thanks, Mike - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: LUTE-LIST [EMAIL PROTECTED] Sent: Sunday, June 06, 2004 11:49 AM Subject: Ukr. Lutes @ Lissberg-Ortenberg Festival The festival site has some interesting recordings, FYPD. RT http://www.das-drehleier.net/seiten/KOBSAREN-MUSIK.htm
Etymology of Pandura/Bandura was: A question to Polish e-friends
Thanks!!! This is quite fascinating: PARDUNE/PANDORE, BARDUNE/BANDURE etc. RT From: Tadeusz Czechak [EMAIL PROTECTED] Bardon or bardun /Czech/ ; plural - barduny = vernacular name of medieval lute , from mid-high-german pardune. Free translanion of quoted sentence will be - even the best lute-player cannot play his lute having bad strings. Here serves as metaphor , like in proverb you can't make bricks without straw - polish equivalent is even Solomon cannot pour out from empty bottle . Another Polish poet, Adam Mickiewicz wrote alcejski chwytam bardon - I take up the Alcaios's lute , that means I'm writing in ancient Greek style greetings - Tadeusz Czechak I najlepszy lutnista, kiedy zle struny, Bardzo sie nie zgadzaja wnet jego barduny. from Wyzerunok Zyvota by Rej, 1560 __ Roman M. Turovsky http://polyhymnion.org/swv
Re: N*geria Scams
It's not just lutes. It's a constant problem for harpmakers also and, I suspect, any easily shipable product selling for over $1000. Craig Craig R. Pierpont Another Era Lutherie www.anotherera.com - Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger --
Re-entrant tuning
Dear Craig, Strictly speaking the 16th-century guitar does not have a re-entrant tuning. The 4th course is tuned in octaves, but the presence of the lower octave means that the tuning is not re-entrant. Perhaps one of the most surprising re-entrant tunings is one for the violin used by Heinrich Biber in his Mystery Sonatas. There are fifteen sonatas, and each one requires a different tuning. The tuning for No. 11, The Resurrection, is d, d', g', g. In other words, starting with the normal violin tuning of e, a', d', g, you lower the first two strings by a tone, giving d, g', d', g, and then the 2nd and 3rd strings swap places. Apparently it means you can play parallel tenths without too much difficulty. Best wishes, Stewart McCoy. - Original Message - From: Craig Robert Pierpont [EMAIL PROTECTED] To: bill [EMAIL PROTECTED]; lute society [EMAIL PROTECTED] Sent: Sunday, June 06, 2004 11:59 PM Subject: Re: reentrant tuning I know that reentrant tuning is common for 16c guitars and citterns. Sometimes it is somewhat camoflaged by the use of a bourdon which makes the course both lower and higher than the next course. Craig Craig R. Pierpont Another Era Lutherie www.anotherera.com bill [EMAIL PROTECTED] wrote: re: reentrant tuning - i read recently that reentrant tuning is probably more authentic for the playing of very early music, particularly rustic. any comments on this? i've tried it once but didn't like it; pavanes, gavottes, etc., sounded like they all came from hawaii or peru. chow - bill - Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger --
