[LUTE] Re: Things to play in quarantine
My wife and I were reading this very song a day ago. Lovely performance. Thanks, jeff Sent from [1]Mail for Windows 10 From: [2]Diego Cantalupi Sent: Monday, March 23, 2020 8:41 AM To: [3]lute@cs.dartmouth.edu Subject: [LUTE] Re: Things to play in quarantine � � If you have some students and a singer: � � [1]https://www.youtube.com/watch?v=6x1aPRquAGg � � -- References � � 1. https://www.youtube.com/watch?v=6x1aPRquAGg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://go.microsoft.com/fwlink/?LinkId=550986 2. mailto:tio...@gmail.com 3. mailto:lute@cs.dartmouth.edu
[LUTE] looking for an instrument
Hi, folks-- I just received an email from a friend (concert guitarist) who has a colleague (conductor) who is in need of an archlute for a performance of a piece by Takemitsu. The performance appears to be taking place in the Atlanta area. I have no other information than that--no date, no specific location. I don't know if they are just looking for an instrument or if they actually need a body to play it as well. Anyway--if you are in the Atlanta area, if you have an archlute (would a 10-cs work? I don't know the piece) and you'd be willing to rent/loan/play it for this performance, perhaps you can contact the conductor : Paul Hostetter <[1]pkhostet...@gmail.com> and see if you can help him out. No need to respond to me--as you can see, I know nothing or less about what's going on. If you do follow up, though, and esp if you play the piece I'd be interested in knowing how it goes--as I said, I don't know the piece at all but I do enjoy Takemitsu's music and should maybe get to know this work. All the best to everyone. jeff -- References 1. mailto:pkhostet...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Gig in NJ
Hi, folks-- A friend of a friend needs a lute player for a performance in central New Jersey. Described to me as an easy gig and easy $$. That's all the info I have, so I cannot help with details about date or rep. If anyone in that neck of the woods is interested, he/she can drop an email with his/her contact info to Dr. Anthony Maglione. He will pass the contact info on to his friend in NJ or give you the contact info in NJ. Tony can be emailed at : Anthony Maglione <[1]maglione.anth...@gmail.com> All the best, jeff -- References 1. mailto:maglione.anth...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] A request--Kapsperger song
A friend contacted me yesterday looking for the Kapsperger song "Ai conviti, alle nozze." I've checked my few Kapsperger songs as well as those in the local music library--no luck. Any chance that someone on this list has or has access to this song? I'm sorry but I do not even have the source of the song right now, though I am trying track that down. A modern edition or the original scoring would be fine. Thanks in advance for any assistance offered. jeff __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Try again
Seem to have lost some clarity in the title in my previous email. Here it is again--maybe clearer: Any chance that anyone on the list has or has access to this article? I'd love to get my hands on a copy. " 'A Sinner's Sighs' " The Devotional Lute Songs of John Dowland and Thomas Campion". In: Nicole Schwindt, Hg. Gesang zur Laute. Trossinger Jahrbuch fA 1/4r Alte Musik. Bd. 2. Kassel: BACURrenreiter, 2002, 191-206. Thanks, jeff -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Article inquiry
Any chance that anyone on the list has or has access to this article? I'd love to get my hands on a copy. "aEUR~Sinner's Sighs'aEUR" The Devotional Lute Songs of John Dowland and Thomas Campion". In: Nicole Schwindt, Hg. Gesang zur Laute. Trossinger Jahrbuch fA 1/4r Alte Musik. Bd. 2. Kassel: BACURrenreiter, 2002, 191-206. Thanks much, jeff noonan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Farre from triumphing court - text question
I would suggest that you read faint as a version of feint--to pretend-- So--it would be shameful to pretend to be thankful--especially since any debt (gratitude) to power must be paid honestly (duly)--and (the poem continues) this is important because a noble (upright, honest) mind would hate to find out that a gracious act has been met with false thanks (feigned gratitude). Tricky stuff. jeff __ From: mc41mc To: David van Ooijen ; lutelist Net Sent: Tue, April 5, 2011 2:59:21 PM Subject: [LUTE] Re: Farre from triumphing court - text question Here is the paraphrased verse by David Hill from a pdf on this page: [1]http://www.johndowland.co.uk/songs.htm 3 Ravished with joy at being so honoured by such a aEUR~saint', He quite forgot his aEUR~cell' and disowned his retired state. He considered that it would be shameful to faint in gratitude, For debts that are due to royalty must be duly paid. There can be nothing so hateful to a noble mind As discovering that an act of kindness has been unkindly dismissed. __ From: David van Ooijen <[1]davidvanooi...@gmail.com> To: lutelist Net <[2]Lute@cs.dartmouth.edu> Sent: Tue, April 5, 2011 11:22:02 AM Subject: [LUTE] Farre from triumphing court - text question A Musicall Banquet, song VIII, third stanza has: Ravisht with ioy so grac't by such a Saint, He quite forgat his Cell and selfe denaid, He thought it shame in thankfulnesse to faint, Debts due to Princes must de duely paid: Nothing so hatefull to a noble minde, As finding kindnesse for to prove unkinde. Why 'faint' in the third line? Just because it rhymes with 'Saint' in the first line? Is there another meaning apart from the swooning, indeed not the most polite thing to do in Royal presence? David -- *** David van Ooijen [2][3]davidvanooi...@gmail.com [4]www.davidvanooijen.nl *** To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [5]http://www.johndowland.co.uk/songs.htm 2. mailto:[6]davidvanooi...@gmail.com 3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:davidvanooi...@gmail.com 2. mailto:Lute@cs.dartmouth.edu 3. mailto:davidvanooi...@gmail.com 4. http://www.davidvanooijen.nl/ 5. http://www.johndowland.co.uk/songs.htm 6. mailto:davidvanooi...@gmail.com 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] tracking down Airs de cour
A vocal student here at the university just asked for help locating a couple airs de cour he wants to put on a recital. I'm swamped with performance and class preparation and my time for doing this sort of digging is limited right now. I can eventually get to it, but the sooner we find these the better. Would anyone on the list have either of the following songs in a format you would be willing to share with my student? Facsimle or modern edition would be fine. A PDF scan might be easiest way to send them. A cursory on-line search has not turned either of these up quickly in the usual lute music resources. Any help would be greatly appreciated. He is looking for: "Aux plaisirs, aux delices bergeres" by Guedron "Cesses, o divine beaute" by Boesset If you have either, you can email me or him directly--his email is [1]jdalexande...@semo.edu Thanks in advance for any help you can offer us. See ya jeff __ -- References 1. mailto:jdalexande...@semo.edu To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Looking for Rossi tune
You are correct--that's a fine recording of the piece. There may even be a youtube performance posted. Now--the score ...? jeff __ From: David van Ooijen To: Lutelist Sent: Thu, January 28, 2010 4:38:36 PM Subject: [LUTE] Re: Looking for Rossi tune I think it's on the Tragicomedia CD with Suzie LeBlanc. Liner notes somewhere ... somebody with a better organised CD collection? David - fighting against the chaos in life. Losing. On Thu, Jan 28, 2010 at 3:47 PM, Jeffrey Noonan <[1]jjnoo...@sbcglobal.net> wrote: > Hi luters > > I just had a student drop in looking for a solo cantata by Luigi > Rossi--"La bella piu bella" from a manuscript in Paris. I don't have > time to do an extensive search for it right now (beginning of the term) > but I'm finding no modern edition, nor any facsimile of the ms readily > available. I've checked Rossi cantata index as well as the 3vol > dissertation (with some transcriptions) on Rossi's cantatas, but no > luck there. > > Any chance anyone out there has a copy of this piece? Or can you point > me to a source I've missed? I'd probably be most interested in a good > quality copy of the ms. but I'd be happy with a modern edition, too, if > that's what's available. > > Usually I do the digging myself, but I don't have the time in this > case and the student has done some good work in searching stuff out, > but she has exhausted her (undergraduate) research skills and > resources. > > I appreciate any assistance out there. Thanks in advance! > > jeff > __ > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- *** David van Ooijen [2]davidvanooi...@gmail.com [3]www.davidvanooijen.nl *** -- References 1. mailto:jjnoo...@sbcglobal.net 2. mailto:davidvanooi...@gmail.com 3. http://www.davidvanooijen.nl/
[LUTE] Looking for Rossi tune
Hi luters I just had a student drop in looking for a solo cantata by Luigi Rossi--"La bella piu bella" from a manuscript in Paris. I don't have time to do an extensive search for it right now (beginning of the term) but I'm finding no modern edition, nor any facsimile of the ms readily available. I've checked Rossi cantata index as well as the 3vol dissertation (with some transcriptions) on Rossi's cantatas, but no luck there. Any chance anyone out there has a copy of this piece? Or can you point me to a source I've missed? I'd probably be most interested in a good quality copy of the ms. but I'd be happy with a modern edition, too, if that's what's available. Usually I do the digging myself, but I don't have the time in this case and the student has done some good work in searching stuff out, but she has exhausted her (undergraduate) research skills and resources. I appreciate any assistance out there. Thanks in advance! jeff __ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Baroque lute and traverso
I recently played a very nice 4 movement sonata for baroque flute attributed to Vivaldi. In the key of e minor. This is a continuo part, not a "tabbed" accompaniment. I played it on theorbo and it works fine. I have no specific information about the source--I had to do a cut and paste of the score to make a working part and never saw any introductory material. It doesn't really feel like Vivaldi--seems more French than Italian--but it is a charming piece nonetheless. jeff - Original Message From: Bernd Haegemann <[EMAIL PROTECTED]> To: LuteNet list Cc: baroque Lutelist <[EMAIL PROTECTED]> Sent: Tuesday, October 21, 2008 12:34:43 PM Subject: [LUTE] Baroque lute and traverso Dear all, could you point me to some repertoire for the combination baroque lute & traverso (I am aware of the possibility to play continuo on the d-minor lute :-) thank you!! B. To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Best Guitar Concerto (WAS) Re: Respighi
The Bickford Concerto seems to have been conceived as a gtr/pno duo from the start, principally as a vehicle for the composer and his wife, Vahdah Olcott-Bickford. She made much of the piece in her columns in Cadenza, Crescendo and The Serenader, touting it as the first and only American guitar concerto up to that point. My work on the period (up to about 1935) has uncovered only one performance of the piece by someone other than Vahdah Olcott-Bickford and never with anything but piano. Given that American guitarists and composers took a back seat to Segovia and his "stable" of composers, I think it unlikely that the piece had many other performances or that it was ever orchestrated. jeff --- On Wed, 10/1/08, steve gottlieb <[EMAIL PROTECTED]> wrote: From: steve gottlieb <[EMAIL PROTECTED]> Subject: [LUTE] Re: Best Guitar Concerto (WAS) Re: Respighi To: "lute list" Date: Wednesday, October 1, 2008, 4:44 PM Interesting question. I was just looking at the IGRA website to see what came up and I came across this: [1]http://digital-library.csun.edu/cdm4/item_viewer.php?CISOROOT=/IGRAS cores&CISOPTR=6908&CISOBOX=1&REC=11 1920, by Zarh Bickford but only with piano reduction. i wonder if it was ever fully orchestrated. here's the search for "concerto" among the scores collection [2]http://digital-library.csun.edu/cdm4/results.php?CISOOP1=all&CISOBOX 1=concerto&CISOFIELD1=CISOSEARCHALL&CISOOP2=exact&CISOBOX2=&CISOFIELD2= CISOSEARCHALL&CISOOP3=any&CISOBOX3=&CISOFIELD3=CISOSEARCHALL&CISOOP4=no ne&CISOBOX4=&CISOFIELD4=CISOSEARCHALL&CISOROOT=/IGRAScores&t=a here's the biblio record at IGRA for that Shand concerto too [3]http://digital-library.csun.edu/cdm4/item_viewer.php?CISOROOT=/IGRAS cores&CISOPTR=3517&CISOBOX=1&REC=19 sorry for the double message arkadia On Wed, Oct 1, 2008 at 10:03 AM, Arkadia Trio <[EMAIL PROTECTED]> wrote: From: <[EMAIL PROTECTED]> Knowing when the absolute first guitar concerto of the 20th century is only of marginal value, but it is useful to know when interest in the genre re-emerged. Perhaps more useful - does anyone know when the LATEST guitar concerto was written in the 19th century? It would be interesting to see how big the gap is. Maybe Ernest Shand's Concerto op. 48, published in 1896. To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://digital-library.csun.edu/cdm4/item_viewer.php?CISOROOT=/IGRAScores&CISOPT R=6908&CISOBOX=1&REC=11 2. http://digital-library.csun.edu/cdm4/results.php?CISOOP1=all&CISOBOX1=concerto&C ISOFIELD1=CISOSEARCHALL&CISOOP2=exact&CISOBOX2=&CISOFIELD2=CISOSEARCHALL&CISOOP3 =any&CISOBOX3=&CISOFIELD3=CISOSEARCHALL&CISOOP4=none&CISOBOX4=&CISOFIELD4=CISOSE ARCHALL&CISOROOT=/IGRAScores&t=a 3. http://digital-library.csun.edu/cdm4/item_viewer.php?CISOROOT=/IGRAScores&CISOPT R=3517&CISOBOX=1&REC=19 4. mailto:[EMAIL PROTECTED] 5. mailto:[EMAIL PROTECTED] 6. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html --
[LUTE] Re: Respighi
Presenting contemporary works as historical is a long tradition in the music
biz--
See Charles Cudworth, "Ye Olde Spuriosity Shoppe, or Put in the Anhang" in
Notes 12 (1954-55).
The program notes to a recent Naxos recording of Ponce's solo guitar music
recounts this episode. Segovia was merely trying to keep up with the other
international virtuosi of the day (Landowska, among others ), who were
unearthing and performing old, obscure masterpieces--sometimes actual
historical pieces, sometimes new compositions. I'm not entirely sure Segovia
every acknowledged the hoax while Ponce was still alive.
jeff
- Original Message -
From: <[EMAIL PROTECTED]>
To: "Arthur Ness" <[EMAIL PROTECTED]>; "Paul Pleijsier"
<[EMAIL PROTECTED]>
Cc: "Lute Net"
Sent: Friday, September 26, 2008 12:47 PM
Subject: [LUTE] Re: Respighi
Arthur,
I'm curious about the "lutenist who may not be
named" as well. Trustworthy as this fellow probably
is, there have been bigger hoaxes before so we have to
remain sceptical until the lutenist's name comes out
or there is some verifiable publication. The
Segovia/Ponce frauds for example didn't happen so long
ago as to be unthinkable today.
For those who might not know, Andres Segovia and
Manuel Ponce conspired to pass off Ponce's original
guitar compositions as the work of past masters.
These included "transciptions" of piano pieces (sic)
by Allesandro Scarlatti, a Suite in A minor by Weiss,
and the Sonata Classica by Sor - all entirely the work
of Ponce. While today it seems incredible that anyone
could be fooled for a minute (Ponce was a mediocre
composer at best) these sham works were recorded and
published in the 1950's under the baroque composers'
names.
Since these pieces were vouched for by such giants
in the field, they got passed around and accepted as
part of the repertoire. For years, Segovia and Ponce
fooled audiences, critics and musicologists. John
Williams' Wigmore Hall debut included the "Scarlatti"
and "Weiss" pieces. Heitor Villa-Lobos tried to argue
that the "Weiss" was so good that it must in fact be
by J.S. Bach(!). When the master guitarist and
respected composer were finally discovered, they
claimed it had all been just a little joke. Ha-ha.
I believe that all of these pieces are still in
print under Ponce's name.
Chris
--- Arthur Ness <[EMAIL PROTECTED]> wrote:
- Original Message -
From: "Paul Pleijsier" <[EMAIL PROTECTED]>
To: "Arthur Ness" <[EMAIL PROTECTED]>
Cc: "Lute Net"
Sent: Friday, September 26, 2008 3:19 AM
Subject: Re: [LUTE] Re: Respighi
| As a total outsider in this matter, I just wonder
why the Italian
| "living and breathing" "master lutenist" is
unnamed as of yet.
| Paul Pleijsier
ooo
Dear Paul,
I was told the name of the lutenist by several
persons at the Francesco
conference in 1997, but I did not recognize the name
and subsequently
forgot who it is. And I've never considered it so
important that I'd seek
out the name from my colleagues in Italy, or from
Thomas Schall. The way
the name was mentioned casually, the lutenist was a
"household name" to
those participating in the discussions. It was ten
years ago.
I never expected it would be so controversial. And
the
controversy is due solely to ugly comments by
Matanya Ophee and now
Eugene . They are demanding
information to which they
are
not necessarily entitled. and seem to think they
will get the
information by suggesting that we are liars, and by
using other unkind
epithets ("looth
fairies"), and by characterizing the lutenist as a
"phantom." But I don't
have the information they seek, and under the
circumstances, wouldn't tell
them even if I knew.
The re-discovery of the manuscript was hot news at
the conference. And
several different persons told me about it. Sort of,
breathlessly
uttered, "Did _you_ hear . . ." And I did have an
extended discussion
about the discovery with at least one leading
Italian lute scholar,
who thought he was on the track of the person who
purchased the manuscript
shortly after
Chilesotti's death in 1916. He named a famous
Italian
composer/musicologist (but not
Respighi) who resided in northern Italy, not far
from Chilesotti.
Possibly it may be his family who still owns the
manuscript. But that's
just a guess, particularly because the manuscript
seems never to have
appeared on the auction or
antiquarian markets, which are closely monitored by
some of us.
In 1997, noone told me the identity of the owner of
the manuscript (it is
possible noone knew)--information I surely would
have tucked away for
future reference in my 37-column article
on the sources of lute music in the New Grove
Dictionary of Music and
Musicians. It was well-known that my revisions for
the next edition were
then in progress. That is probably the reason why so
many people told me
about the
manuscript. When a new manuscript is discovered, I
usually hear about
it within a very short while.
Two persons o
[LUTE] Re: Hi guys, again with all the guitars...
This is a self-serving response, but it might help. My new book, The Guitar in America: Victorian Era to Jazz Age, has a fairly comprehensive bibliography and should help you track down other resources. It should be easily available from Amazon. Good luck. jeff noonan Omer katzir <[EMAIL PROTECTED]> wrote: i need some books about guitar (English) after checking every book in hebrew, i found nothing. i need about the history of the guitar to the present day (i heard about one called "The Guitar And Its Music - From the Renaissance to the Classical Era by James Tyler and Paul Sparks"), but i guess i need more. even good internet websites (not wiki) plus, some books about technics for classical guitar playing, good books, i want to play some classical guitar and i want to do it right. my lute teacher can help me, but i don't want to put too much time on that. and i do know the basics. now, i know it's not guitar list, but i know few of you are (or were) guitar players, and i trust you guys (hey, I'm a lute player because you helped me find my luthier) so thank you again for all your help (like the last time with the fantasies for guitar i've asked, you gave me good stuff) and i really hope to upload some lute videos soon! Omer Katzir -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Music in hell (slightly off topic)
I think I sent a reply to the list earlier this year about Bosch's paintings and music--esp. the lute. Not sure it got out. Anyway--I did a paper long ago about Bosch's use of music as a representation (usually of debauchery). I'd be happy to send out a summary of the the paper or the paper itself (I'll have to scan it since it was created on a typewriter last century). jeff - Original Message - From: "Robert Clair" <[EMAIL PROTECTED]> To: "Lute List" Sent: Wednesday, August 06, 2008 7:31 AM Subject: [LUTE] Re: Music in hell (slightly off topic) You're probably looking for The Garden of Earthly Delights by Hieronymus Bosch: http://en.wikipedia.org/wiki/The_Garden_of_Earthly_Delights Just chock full of fun, "don't try this at home" things to look at. It lives in the Prado in Madrid. It's very famous - you should have no trouble acquiring a poster of it. ..Bob To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Dowland's Books
Broude Brothers Performer's Facsimile Series--lute song books by Dowland and others as well as Robert Dowland's Varietie of Lute Lessons. They used to be priced around $18-25 per book. Broude does have the occasional sale where you can save 10-20% if you spend enough $$, but OMI should have these as well. jeff Christopher Stetson <[EMAIL PROTECTED]> wrote: Hi, all, If it is the books of songs that you're looking for, Dover Publications has (or had) an inexpensive modern edition; complete, 2 books to the volume. They include "original" ( i.e., modern typeset) tab, staff notation for capoed guitar with F# 3rd, and voice. Very nice, as these things go. Are facsimilies available anywhere online? Best to all, C. >>> Taco Walstra 4/2/2008 3:12:42 am >>> On Wednesday 02 April 2008 08:23, Omer katzir rattled on the keyboard: > Does any one know where i can buy/download Dowland's books? The > versions on the net are written for 8 or more course while I'm playing > 7 like our not so dear Mr. Dowland. > > Need it for a project. > > Thank you all and have a really nice day! > Hi, an often used edition is the Diane Poulton edition with the collected music (almost complete, and some pieces which are - I think- not by dowland).Published by faber & faber. (with horrible staff notes, so lots of page turning) Can be found on amazon and many musicshops will have it in stock. Don't forget to take a large wallet. The pieces by dowland are for a mix of lutes sometimes even a 9th course is used. This is because all the pieces come from sources where people arranged it for the lute available. If you have only a 7th course lute available than play the piece on this lute and transpose the bass notes which are too low. Guitarists also play dowland and they have only 6 strings What dowland himself played is almost certainly a mix of lutes. The only published pieces by him were his super popular lutesongs and they also ask for an 8 course lute. Taco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Heinichen for theorbo
Hi, David-- I was asked to play the piece with a student ensemble a couple years ago. They all played modern instruments at 440. I played a gut-strung theorbo in A that was generally tuned at 415. I ended up rewriting the part just so I had something to play--if I'd had my way, I would perhaps have used an archlute or even a largish lute, but the director insisted on the theorbo (looked cool!). As I recall, the middle movement was not bad, but the outer movements were very active way up the neck. Anyway, it was a very unpleasant musical experience and not something I want to do again soon. Based on my experience, I'm convinced that the part was not written for a theorbo in A with top two strings in re-entrant tuning. Good luck. jeff LGS-Europe <[EMAIL PROTECTED]> wrote: I'm to play the Heinichen concerto in D for flute, oboe, violins, cello, theorbo and bc (Seibel 226) next month. Anybody ever did this before and remember what instrument he/she used? It says tiorba in the autograph. The range is A1 till a'. C and C# are both needed, as are E and E-flat, F and F#, and G and G#. Looks more like gallichon than theorbo as we know it, I'd say? Another calcedono sighting on my music stand this weekend, by the way, in the Telemann Kantate zum zweiten Osterfeiertag 'Herr! ich bin beide'. Just playing along with the continuo, no obligato part. David David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: a query--lutenist in 18th-c London
Thanks to all who responded so far. I've not seen Peter Holman for years (decades, actually) and contacting him is a good idea. I'll follow up on the German name, as well. Once Bononcini's fortunes with his operas changed, he was in fact hired to perform twice weekly at Henrietta's (the junior Duchess of Marlborough) home in twice-weekly concerts that were dedicated to his music exclusively or nearly exclusively. As near as I can tell there are no detailed descriptions of Henrietta's house concerts--they were private affairs and not subject to newspaper comment or review. There are occasional mentions of them, more as social events than musical, in newspapers, letters or diaries. These brief comments occasionally list singers and notable musicians (e.g., Bononcini) and often conclude with "the Instrumental Parts by Masters of the best Performers," or something like that. Tantalizingly vague. The best comment is after the fact in Hawkins. He observes that Bononcini "ever chose to be accompanied by Weber on the lute." Bononcini was a cello virtuoso, so we're probably looking at cello/lute duets as well as continuo support under songs. I'm working with Bonocini's 1732 trio sonatas (2 vln & "bass doubled"--cello & something else) and would love to ascertain if these were first heard with lute & cello continuo. I appreciate the feedback and will report if I discover anything more about Francisco Weber. jeff David Rastall <[EMAIL PROTECTED]> wrote: On Sep 11, 2007, at 8:40 PM, Jeffrey Noonan wrote: A question--I've recently run across references to a lutenist identified variously as Francisco Weiber Francisco Weber Francisco Waber He was active in London in the 1720s and performed with the composer/cellist Giovanni Bononcini as well as the castrato Francesco Senesino. I've gleaned the little bit of information about him that I can from Lowell Lindgren's dissertation and articles about Bononcini, but have found no other easily accessible info on him. I do not have Matthew Spring's book (The Lute in Britain) at hand, but do not recall a discussion of anyone with that name. Anyone out there have any suggestions or knowledge of this lutenist? I read that Bononcini was hired in 1725, or thereabouts. as the director of private concerts given by the Duchess of Marlborough. If he employed anyone as a lutenist for one or more of those concerts,there might be some record of it. David R [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] a query--lutenist in 18th-c London
Hi to all-- A question--I've recently run across references to a lutenist identified variously as Francisco Weiber Francisco Weber Francisco Waber He was active in London in the 1720s and performed with the composer/cellist Giovanni Bononcini as well as the castrato Francesco Senesino. I've gleaned the little bit of information about him that I can from Lowell Lindgren's dissertation and articles about Bononcini, but have found no other easily accessible info on him. I do not have Matthew Spring's book (The Lute in Britain) at hand, but do not recall a discussion of anyone with that name. Anyone out there have any suggestions or knowledge of this lutenist? Thanks much! jeff -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Factory build lutes
My first lute was an Aria and I got it in 1977. For a factory-made instrument, it was probably not too bad, but as a lute it left a lot to be desired. The construction was primarily plywood (good quality, but plywood nonetheless) with a stamped-out rosette. As a result, it was pretty heavy (and LaBella lute strings were fine on it) with a fairly thin sound. Probably the best part of it was the case--a nice form-fitted case with good plush lining When I had a store for a while about 10 years ago, I occasionally sold used Aria lutes that came through--but I sold them to theater companies or Renaissance Faire guitarists, both of whom needed something that looked like a lute but responded to harsh treatment and weather rather better than an historically accurate lute. Given the choices on the market today, I'd not recommend one of the Aria lutes, even to a beginner. I think you would find that it will not hold up (musically or tonally) as a long-term investment. You might have to pay more to get a "real" lute, but in the long run it would be a better choice. On the other hand, the upper end Aria guitars are quite nice--made in Spain while their lower end instruments (Korean, I think) are nothing particularly special. I used to sell the better guitars and still recommend them to students who are looking for a good instrument at a reasonable price. jeff Guy Smith <[EMAIL PROTECTED]> wrote: They did, some years ago (20?) but didn't stick with it. I've seen a couple of them, and wasn't impressed. They were rather heavy, didn't sound that good, and they made some odd design decisions, like a curved fingerboard. They did a much better job with guitars. I've still got my old 60's vintage Aria "starter" classical guitar, and it's a respectable instrument. BTW, IIRC, Aria doesn't actually have a factory, as such. They do the design but job out the actual construction. I'm not sure where. It's been quite awhile since I read that item, so someone on the list might have better info. Guy -Original Message- From: Wim Loos [mailto:[EMAIL PROTECTED] Sent: Wednesday, June 06, 2007 8:00 AM To: lute@cs.dartmouth.edu Subject: [LUTE] Factory build lutes Dear members, I wonder knows anybody if the guitar-factory "ARIA" also makes lutes, and what there quality is. For instance 8-course renaissance lute. Thanks in advance, Wim _ Jouw nieuws: wereldnieuws! Beleef 't op MSN.nl http://reporter.msn.nl/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] some performances in the midwest
I've recently begun a very productive collaboration with Jay Carter, a countertenor from the Kansas City area. He and I have a series of recitals in the next couple months and I'd like invite folks who might be interested to come out for the performances. Jay is a wonderful young singer and I think he will be reaching a wider audience in the not-too-distant future. The programs consist principally of Purcell and Dowland with 2 very interesting theater songs by Robert Parsons for alto voice and bass lute. I'm playing theorbo, bass lute & baroque guitar on the program. This is what I have so far: Feb 4: St. Louis, MO, Trinity Presbyterian Church, 7pm Feb 5: Cape Girardeau, MO, Christ Episcopal Church, 3pm Feb 14, St. Louis, MO, The Sheldon Concert Hall, 7:30 pm $$ (This concert is Italian cantatas by Rossi, Bononcini & Cazzti with 3 singers and a small string band) Mar. 12, Maryville, MO Northwest MO State U, time TBA [Mar 11--possible date in Omaha, NE, still in negotiations] Mar 18--Champaign, IL--Monterverdi Vespers, time TBA $$ Mar 20--Bloomington/Normal, IL, Illinois State U, time TBA I think most of these performances will be free, though a couple (marked $$) I know do have admissions. If you need more info about locations, directions, etc, drop me a note. Thanks for humoring me. jeff -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
