Does any one know if the other instrumental parts of the Sinfonia (on
page 46 of
this MS) survive? And their whereabouts? And, even better if they have
a band set
they could scan or post a link to?
--
I had, at first, thought it might be a solo piece and the title
referred
Many thanks Markus
Best wishes for 2020
Martyn
On Saturday, 4 January 2020, 23:38:24 GMT, Markus Lutz
wrote:
Dear friends,
I noticed some minutes ago, that the "In Venetiis" Weiss manuscript now
is finally online:
[1]https://gallica.bnf.fr/ark:/12148/btv1b52511501b
B
Yes - And finish it with Stand Oil (ie linseed Oil which has already
partly oxidised - NB not the modern chemically altered stand oil used
nowadays by artists), This gives a fine satin sheen finish on the wood
and dries hard but remains flexible.
MH
On Wednesday, 27 November 2019
Thank you for this Bernhard,
Yes indeed, Von Radolt has interesting things to say to us.
An earlier FoMRHI joint paper explores his instructions:
Comm 737 Von Radolts instructions to lute players (,,,1701).
[1]https://www.fomrhi.org/uploads/bulletins/Fomrhi-044.pdf
This paper has
Dear David,
Yes indeed. And to add to your guesstimate about lutes, the number of
extant mandoras/gallicons is only about 70 made between 1688 and 1780
(most are listed Dieter Kirsch 'La mandora au XVIII siecle'). Although
their geographical area of production (and common use) was q
At 12:21 + 13/2/18, Martyn Hodgson wrote:
  Two other well known lutesby Johann Christian in the Brussels
  collection are fairly deep too, having a depth greaterthan half the
  width (roughly 0.57):
  Leipzig 1716 eleven course (M 1559): body length 495;width 323; depth
  185
Â
Two other well known lutes by Johann Christian in the Brussels
collection are fairly deep too, having a depth greater than half the
width (roughly 0.57):
Leipzig 1716 eleven course (M 1559): body length 495; width 323; depth
185
Leipzig 1730 thirteen course with bass rider (M 3188
___
From: "mjlh...@tiscali.co.uk"
To: VihuelaList
Cc: Martyn Hodgson
Sent: Monday, 12 February 2018, 21:44
Subject: MS CZ- Bm D 189 - the Last Post
Dear Martyn
I am sorry to have denied you the opportunity to fully reply to my
message of 31 Jan and its various
ut, to quickly pre-empt another red herring in
the offing, I'm obliged to mention that the mandore and
the mandora are actually two entirely different instruments...
- Forwarded Message -
From: "mjlh...@tiscali.co.uk
Subj: [VIHUELA] Re: Further to Re: Moravsky MS (CZ. Brno D 189) - a
fresh tack! 2
From: Martyn Hodgson <[4]hodgsonmar...@cs.dartmouth.edu>
To: "[5]mjlh...@tiscali.co.uk" <[6]mjlh...@tiscali.co.uk>;
VihuelaList
<[7]vihu...@cs.dartmouth.edu>; Baroque Lu
Is this a correct statement of your position?
regards
Martyn
PS I copy this to the 'Baroque Lute' list since the mandora is a lute
instrument - and a baroque lute to boot!
===
==
- Forwarded
Dear Monica,
As you now know, I haven't yet replied to your latest open
mailings since these had both ended by saying that you 'were going to
leave it for now' and I therefore took this as meaning I might soon
expect something further. Accordingly, not wishing to respond in a
pi
- Forwarded Message -
From: Martyn Hodgson
To: Monica Hall ; VihuelaList
; Baroque Lute List
Sent: Sunday, 14 January 2018, 16:35
Subject: Even more to yet more: re. Moravsky Manuscript AND five course
guitar stringing
Dear Monica,
=
I've thought
Dear Monica.
My responses are interposed below in bold, new roman and italic for
clear differentiation (sadly, though, not in my preferred typeface for
the others on the list version which only goes to them in standard
typeface and no spacing but, from what Wayne tells me, it'll reac
Dear Monica,
Comments on D 189 Moravske zemske muzeum
We briefly discussed this interesting MS some four years ago - partly
in the context of the placement of the octave strings on the fourth
(and fifth) course of the five course guitar. I also recall posting
something on Wayne's
Dear Andreas,
Henry is a shadowy figure to me amongst guitarists active in Paris at
the time - do you have any information about him?. His Methode must
have been reasonably popular since it's the 3rd edition and up against
a great deal of competition in Paris at the time (1826) - and
an's weak metaphors for which I also
apologise.
Best wishes
Anthony
[1]Sent from Yahoo Mail for iPhone
Le vendredi, fà ©vrier 3, 2017, 4:52 PM, Martyn Hodgson
<[1]hodgsonmar...@yahoo.co.uk> a à ©crit :
Dear Anthony,
I may well have misundersto
Dear Anthony,
I may well have misunderstood the point you make
'and the extra diameter beyond the bridge behaving similarly to
loading, but as though the loading were more of the same material'
- surely the physical characteristics of a string largely determine the
sound - else w
Once again Mimmo, many thanks for all your efforts and for taking the
trouble to listen to us out here!
I much liked your old loaded gut and I still have some on various lutes
(including the 6th course of a large theorbo where it smooths the
transition to the long basses). Close to t
_
From: Mimmo
To: Martyn Hodgson
Cc: Matthew Daillie ; Martin Shepherd
; "baroque-lute@cs.dartmouth.edu"
Sent: Thursday, 2 February 2017, 12:39
Subject: [BAROQUE-LUTE] Re: Baroque Lute Stringing
Thanks Martyn,
I mean more predominant fundamental and less sust
Dear Mimmo,
Thank you for your continuing efforts in manufacturing these strings.
I agree with much of what has been said: - especially with Martin
Shepherd about the unfortunate influence rose pluckers have had on
stringing often leading to high tensions of overwound strings in the
ave passed on works from
their own youth.
MH
__________
From: G. C.
To: Martyn Hodgson
Cc: AJN ; "chriswi...@yahoo.com"
; "theoj89...@aol.com" ;
"baroque-lute@cs.dartmouth.edu"
Sent: Sunday
Henning has written about this book - I've no reason to doubt it.
[1]http://folk.uio.no/henninho/Gitar.html
MH
__
From: AJN
To: kalei...@gmail.com; chriswi...@yahoo.com
Cc: theoj89...@aol.com; baroque-lute@cs.d
The book first belonged to Johanne Christine Hertzberg (1708 - 1801)
and in my view was mostly compiled around 1740/50 but contains some
works from late seventeenth century French sources. The music is also
very similar to that by Nathanael Diesel in the large MS compilation
held in
Dear Sterling,
Further to your note about the very largest of German Dm lutes, we
might also recognise that they may have had the so-called German
theorbo tuning ie with the first course at a nominal d' which could
thus bear the increased stress of such a string length. Instruments
the sort of pitch which might have been used historically on a
particular sized instrument.
Martyn
__
From: sterling price
To: Martyn Hodgson ; baroque lute list
Sent: Thursday, 11 July 2013, 9:21
Subject: R
It all depends on how often you're prepared to replace the highest
pitched course (ie the first string): at modern pitch A440 with a 76cm
fingered string length, e'flat would be the highest I would normally
expect ie nominal f' at A392 (a whole tone under usual modern pitch).
Indeed,
or vibrato
MH
From: Mathias Roesel
To: baroque-lute mailing-list
Cc: Lute List
Sent: Monday, 27 May 2013, 19:34
Subject: [BAROQUE-LUTE] Re: Pierre Gaultier in 1720! Old "early music"?
I do not own a copy of RA-BAn Ms. 236.R - 13769, but the incipits (thx,
I think it means a cousin from the same family. Mace might then be
describing a relative
MH
--- On Mon, 5/11/12, Peter Steur wrote:
From: Peter Steur
Subject: [BAROQUE-LUTE] Thomas Mace and Cozen-German
To: "Baroque Lute"
Date: Monday, 5 November, 2012, 8:43
Dear Mathias,
Thanks for this.
Italian 7/8 course lutes are distinctly different to
the mandoras/gallichons found in German speaking lands in the 18th
century in a number of significant respects. Noteably:
1. Length of neck - mandoras in original state have room for 9 tied
Dear Matthias,
I agree with much of what you say.
However regarding the observation that ' One may reasonably argue
whether this is an accompaniment or an instrumental arrangement as
there is no extra voice part. Instead, the lyrics are written beneath
the tablature which incl
Excellent - as you say a much neglected work and one requiring much
panache and affet which you provide.
I wonder if it's an arrangement of a keyboard sonata? I'm not aware of
any relevant research - are you?
Martyn
--- On Tue, 28/8/12, Christopher Wilke wrote:
From: Chr
Dear Bill,
There are indeed a few sources for songs accompanied by lute: one such
which is readily vailable (tho' 18th century) is Beyer's 1760 setting
of some Gellert odes. See this:
[1]http://petrucci.mus.auth.gr/imglnks/usimg/c/c2/IMSLP204541-PMLP34546
6-Gellert.pdf
And
Fasch is a fairly well known composer who wrote works in a variety of
forms and instrumentation.
His concerto in Dm is in the large Dresden collection (Mus.Ms.
2423.v.1) scored in four parts with lute: two violins, viola, Lluto,
cembalo/basso (unfigured). Note that the lute is
From: Martyn Hodgson
Subject: Re: [BAROQUE-LUTE] Visee in Res. 1106
To: "Richard Stone"
Date: Saturday, 23 June, 2012, 14:52
Dear Richard,
I have a good(ish) photocopy of Res 1106 (only the faint piece on f.81
is hard to decipher) but not a pdf version.
--1386533404-137319751-1337257701=:5336
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable
Chris,
A couple of years (or so) ago I asked about the chords in a Preludio for
Tiorbas In NB 17706. There are small numbers (either a 2 or a 3) below some
chordal p
Von Radolt also employs this technique in his 'Der Aller Treueeste
Freindin...' (Vienna 1701) - see the paper with relevant translation
and commentary by Bill Samson and me in FoMRHI Quarterly some years ago
(digital copies available - search FoMRHI). And I've recall at least
one o
Re works by J F Daube, as well as the lute works, there is at least one
piece by him which includes mandora: a sonata for violin and mandora
from his 'Musical Dilettante: A Treatise on Composition (Vienna, 1773
)'. This work was aimed at amateurs and especially aristocratic
dilett
nking) was
Re: Ne Anthony Bailes CD
To: "Martyn Hodgson"
Cc: "baroque-lute@cs.dartmouth.edu"
Date: Tuesday, 20 March, 2012, 12:52
Dear Martyn
I must appologize for not having seen your message; I actually
wrote a subpart to my mail to Ed (on su
ed on a large bass lute
and brought being both up to their relative pitches
rgds
M
--- On Sun, 18/3/12, William Samson wrote:
From: William Samson
Subject: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD
To: "Martyn Hodgson" ,
"baroque-lu
instrument.
rgds
Martyn
--- On Sun, 18/3/12, William Samson wrote:
From: William Samson
Subject: Re: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD
To: "Martyn Hodgson" ,
"baroque-lute@cs.dartmouth.edu"
Date: Sunday, 18 March, 2012, 9:22
Hi Mart
Dear Anthony,
I agree with most of what you write below. There is, however, one
elephant-in-the-room issue which, I think, goes to the heart of the
matter, viz: how much our individual pre-judgements/prejudices may
influence our choices in spite of the evidence.
A particular, a
Dear Anthony,
There's no reason why such bass gut strings shouldn't work almost as
well on a small lute as on a bigger one: simply the overall pitching
will be higher (ie in both cases the highest string will be pulled up
as close as possible to breaking stress).
Martyn
---
1]lute-...@cs.dartmouth.edu
[mailto:[2]lute-...@cs.dartmouth.edu] Im
> Auftrag von Martyn Hodgson
> Gesendet: Freitag, 16. Maerz 2012 13:39
> An: baroque-lute mailing-list; Mathias Roesel
> Betreff: [BAROQUE-LUTE] Re: What lutes for 17th century French music
was:
Ne
e@cs.dartmouth.edu>,"Edward Martin"
><[7][6]e...@gamutstrings.com>Date: Friday, 16 March, 2012, 8:33
Hi
>Martyn, Do you know what the string length of the Wenger is?
>Bill From: Martyn Hodgson
<[1][8][7]hodgsonmar...@yah
options - you can go for the free version
which
has
occasional ads between tracks, or the paid version that is
ad-free.
Being a Scotsman I put up with the ads!
Best wishes,
Bill
From: Martyn Hodgson <[3][2]hodgsonmar...@ya
on wrote:
From: William Samson
Subject: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD
To: "Martyn Hodgson" ,
"baroque-lute@cs.dartmouth.edu" ,
"Edward Martin"
Date: Friday, 16 March, 2012, 8:33
Hi Martyn,
Do you know what the s
Dear Edward,
Thank you for this notice: in fact this CD has been out in Europe for
over a year.
Unfortunately, as Anthony Bailes later agreed (see letters in Lute News
from No 94, August 2010 on), the large Wenger lute used on the
recording (if indeed it was built as a lute and
Incorrect again Howard - he does not say those who use tastini are
'prominent' players as you do (from where do you get this), but that
they are foolish.
MH
--- On Fri, 6/1/12, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Sharp keys seem to wor
Date: Friday, 6 January, 2012, 16:38
On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote:
> Equal temperament was used on lutes from the 16th century onwards
Except by Gerle (1532)
And the Dowlands (1610)
And Ganassi (1543)
And Mersenne (1636)
And anyone who read their b
Equal temperament was used on lutes from the 16th century onwards (much
contemporary comment/evidence). This is because the same fret spaces
are obliged to fit both chromatic and diatonic intervals.
However, some mid 17th century French style lute music might allow a
particular mea
"Baroque lute Dmth" , "lute
mailing list list"
Date: Friday, 2 December, 2011, 18:28
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
> As David Hill points out (have you bothered
> to read his paper?) the voice generally expected when the songs
ange?
Martyn
--- On Fri, 2/12/11, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re:
A=392]
To: "Baroque lute Dmth"
Date: Friday, 2 December, 2011, 15:21
On Dec 2, 2011, at 12:29 AM, Martyn Hodgson wrote:
> Have you
/11, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Transposing lute tablature on sight [was
Re: A=392]
To: "Baroque lute Dmth"
Date: Thursday, 1 December, 2011, 21:14
On Dec 1, 2011, at 8:30 AM, Martyn Hodgson wrote:
> We've
Re: A=392]
To: "Baroque lute Dmth"
Date: Thursday, 1 December, 2011, 16:06
On Dec 1, 2011, at 2:08 AM, Martyn Hodgson wrote:
> why would you wish to transpose the lute part at all?
I can claim no particular great expertise on the subject of
transposition motivation, bu
Re: A=392]
To: "Baroque Lute List (E-mail)"
Date: Thursday, 1 December, 2011, 10:22
On 1 December 2011 11:08, Martyn Hodgson <[1]hodgsonmar...@yahoo.co.uk>
wrote:
> Further to this, all the sopranos and tenors I have worked with have
found the early lute s
David,
Further to this, all the sopranos and tenors I have worked with have
found the early lute song repertoire well within their comfortable
range: why would you wish to transpose the lute part at all?
Martyn
--- On Thu, 1/12/11, Martyn Hodgson wrote:
From: Martyn
uot;
Date: Wednesday, 30 November, 2011, 15:39
On 30 November 2011 16:12, Martyn Hodgson
<[1]hodgsonmar...@yahoo.co.uk> wrote:
> What you actually wrote was 'Transposing lute song (intabulated
parts)
> isn't that hard for an experienced player'.
[was
Re: A=392]
To: "Martyn Hodgson"
Cc: "Baroque Lute List (E-mail)" ,
"David van Ooijen"
Date: Wednesday, 30 November, 2011, 15:45
Just to jump in the fray. My wife is aprofessional musician, as many of
you are, and I asked here if sh
to other players. Perhaps you might address this?
Many thanks,
MH
--- On Wed, 30/11/11, David van Ooijen
wrote:
From: David van Ooijen
Subject: [BAROQUE-LUTE] Re: A=392
To: "Baroque Lute List (E-mail)"
Date: Wednesday, 30 November, 2011, 14:07
From: Martyn Hodgson
Subject: Re: [BAROQUE-LUTE] Re: A=392
To: "David van Ooijen"
Date: Wednesday, 30 November, 2011, 13:46
Thank you for this.
I think the same general query applies to modern players too - what
evidence have you for your assertio
Dear Jonas,
My message was a reply to an earlier one from David Van Oijan not from
you!
Best wishes
Martyn
--- On Wed, 30/11/11, Jonas Larsson wrote:
From: Jonas Larsson
Subject: Re: [BAROQUE-LUTE] Re: A=392
To: "Martyn Hodgson"
Cc: "Ba
From: Martyn Hodgson
Subject: Re: [BAROQUE-LUTE] Re: A=392
To: "David van Ooijen"
Date: Wednesday, 30 November, 2011, 10:18
Thank you for this.
So, if I understand you right, the early lute players could all
transpose tablature on sight - have you an
first etc.
regards
Martyn
--- On Wed, 30/11/11, William Samson wrote:
From: William Samson
Subject: [BAROQUE-LUTE] Re: A=392
To: "Martyn Hodgson"
Cc: "baroque-lute@cs.dartmouth.edu"
Date: Wednesday, 30 November, 2011, 8:35
I sometimes wo
ursed
with 'perfect' (modern) pitch..
Martyn
--- On Tue, 29/11/11, Anthony Hind wrote:
From: Anthony Hind
Subject: Re : [BAROQUE-LUTE] Re: A=392
To: "Martyn Hodgson"
Date: Tuesday, 29 November, 2011, 12:11
I was rather thinking of a sing
Dear Anthony,
Unless outside their range, won't singers simply transpose to fit with
the key/pitch of the accompaniment rather than the band having to
change instruments?
regards
Martyn
--- On Tue, 29/11/11, Anthony Hind wrote:
From: Anthony Hind
Subject: [BARO
Baines has good photos of some instruments (looks a bit like a late
theorboed German lute).
Its tablature looks like conventional lute tablature of the period
with, of course, extra basses.
MH
--- On Sat, 5/11/11, Stuart Walsh wrote:
From: Stuart Walsh
Subject: [B
For true intonation the size of a chromatic semitone is different to a
diatonic semitone: so that, for example, the interval C# to D is larger
than Db to D. Advocates of unequal temperament fretting on the lute
will therefore presumably need to decide which key they are in..
Dear Rob,
The (single) basses of theorbos (and archlutes) are generally much
closer than even 12mm - some extant are less than 10mm! - and one is
able to navigate these. I suspect habit lays down neural pathways in
the brain which enable us to change from one instrument to another
rally in the mid 140s. Perhaps reflecting local tastes? - but too
small a sample to draw any clear conclusions.
Martyn
--- On Tue, 4/10/11, William Samson wrote:
From: William Samson
Subject: [BAROQUE-LUTE] Re: L'Infidele
To: "Martyn Hodgson" , "
Dear Rob,
It is a stretch but I do think the low A (ie 13th) is meant: the BL MS
is very clear and there are no signs of an a on the 6th course being
altered to a 6 (as we sometimes find elsewhere).
I think there are two factors here:
1. Clearly much depends on how one dispose
cornet-ton but sounding bflat'' at
tief-cammerton - or to look at it another way from a lute perspective:
the first (very small) lute plays a Dm chord at cornet-ton but sounding
Gm at tief-cammerton.'
MH
--- On Sun, 25/9/11, Martyn Hodgson wrote:
From: Martyn H
r Pearcy
wrote:
From: Christopher Pearcy
Subject: RE: Further to: PS to Fw: [BAROQUE-LUTE] Re: v Radolt's
lutes again
To: "Martyn Hodgson" ,
"baroque-lute@cs.dartmouth.edu" ,
"lute.cor...@sunrise.ch"
Date: Saturday, 24 September,
For f'' read f' .
MH
--- On Sat, 24/9/11, Martyn Hodgson wrote:
From: Martyn Hodgson
Subject: [BAROQUE-LUTE] Re: v Radolt's lutes again
To: "baroque-lute@cs.dartmouth.edu" ,
"lute.cor...@sunrise.ch" , "
strument the usual advice might be best: tune it
so that the first course is as close to breaking as practical (ie
without breaking too frequently).
MH
.--- On Fri, 23/9/11, Christopher Pearcy
wrote:
From: Christopher Pearcy
Subject: RE: [BAROQUE-LUTE] v Radolt's lut
See the paper by Bill Samson and myself (FoMRHI Comm 737 - available
from the FoMRHI archives) about Von Radolt's instructions.
Regarding the sizes of the lutes, the instructions suggest various
sizes of 11 course lutes lute ranging from approx 54cm string length
(Radolt's very sma
Dear Mathias,
When you say the lute was tuned in A (Old tuning), I think you may mean
that it looks to be so if we take the vocal part staff notation as
indicating a particular fixed pitch. There's enough evidence to suppose
that in many domestic contexts the voice accomodated to t
11, howard posner wrote:
From: howard posner
Subject: [BAROQUE-LUTE] Re: Lute Strings for theorbo
To: "Lute Dmth" , "baroque Lutelist"
Date: Thursday, 11 August, 2011, 15:39
On Aug 11, 2011, at 6:04 AM, Martyn Hodgson wrote:
> this
> ma
folios of music for solo theorbo. Thus a theorbo in nominal D, as
you seem to advocate, isn't specified for this solo music.
MH
From: Taco Walstra
Subject: [BAROQUE-LUTE] Re: Lute Strings for theorbo
To: "Martyn Hodgson" , "'baroque Lutelist'"
From: Martyn Hodgson
Subject: Re: [BAROQUE-LUTE] Re: Lute Strings for theorbo
To: "Taco Walstra"
Date: Thursday, 11 August, 2011, 11:16
There are non-English sources which describe theorbos with only the
first course an octave down - see the late Bob Spenc
Much depends on your technique and whether you play close to the bridge
(as the Old Ones generally seemed to have done) or up to the rose.
However whatever tension you decide upon, with such a small instrument
why don't you follow historical practice and only lower the first
course
p: Re: another portrait of S.L.
Weiss?
To: "Martyn Hodgson"
Cc: "BAROQUE-LUTE"
Date: Monday, 11 July, 2011, 9:56
Interesting point, Martyn. I don't have the picture to hand. How many
strings or tuning pegs are shown? I still think the four-string
gal
Good point Rob, but, if we're thinking of one of the pictures, I
recall it seems to show a large lute with a single neck. Whilst this
could, of course, be the engraver's own fancy it might suggest the
performer is playing a gallichon (large continuo
type)..
Mar
might have expected to hear...
MH
--- On Sat, 2/7/11, David van Ooijen wrote:
From: David van Ooijen
Subject: [BAROQUE-LUTE] Re: Weiss concerto
To: "baroque lute list"
Date: Saturday, 2 July, 2011, 8:38
On 2 July 2011 09:07, Martyn Hodgson <[1]ho
I'm particularly impressed how the basses of the lute overshadow the
cello in the tuttis...
MH
--- On Sat, 2/7/11, Ed Durbrow wrote:
From: Ed Durbrow
Subject: [BAROQUE-LUTE] Re: Weiss concerto
To: "Daniel Shoskes" , "baroque lute list"
Date: Saturday,
assume any conformity.
Incidentally, 68 +/- 2cm is a range of 66 to 70cm.
MH
--- On Tue, 31/5/11, David R wrote:
From: David R
Subject: Re: [BAROQUE-LUTE] Re: Top luthiers of 11-courser?
To: "Martyn Hodgson"
Cc: baroque-lute@cs.dartmouth.edu
Date: T
luthiers of 11-courser?
To: "Martyn Hodgson"
Cc: baroque-lute@cs.dartmouth.edu
Date: Tuesday, 31 May, 2011, 16:51
On May 31, 2011, at 10:08 AM, Martyn Hodgson wrote:
>Also see my correspondance with Bailes in recent issues of Lute
News on
>the si
) recently converted to an 11 course lute with a
string length around 76cm on a CD of French lute music from around
1670, he conceded that 'As Martyn Hodgson quite rightly points out in
his letter in the last issue of Lute News (No 94), a lute the size of
the Wenger should not fin
Friday, 25 March, 2011, 0:18
I think Christopher makes some interesting points. I'll comment
below.
- Original Message -
From: "Christopher Wilke" <[1][1]chriswi...@yahoo.com>
To: "Martyn Hodgson" <[2][2]hodgsonmar...@yahoo.co.uk&
> From: Edward Martin <[1]e...@gamutstrings.com><= br /> > Subject:
[BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc
&g= t; To: "Martyn Hodgson" <[2]hodgsonmar...@yahoo.co.uk>, "Baroque
lute
Dm= th"
> <[3]baroque-lute@
ct: [BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc
To: "Martyn Hodgson" , "Baroque lute
Dmth"
Date: Wednesday, 23 March, 2011, 22:29
Dear Martyn and all,
I had some correspondence with Tim Crawford 15 years ago, and I was
asking him about the notes
e speculation of two
individuals with the same, or similar,names. The players are Jacques
Vandeville oboe and Daniel Fournier lute (and theorbo!).
MH
--- On Wed, 23/3/11, Martyn Hodgson wrote:
From: Martyn Hodgson
Subject: Jacques de Saint-Luc
To: "Baroque lute Dmth"
The dates of this composer are generally given as 1616 - 1710 which
seems a phenomenal life span for the time and even more so when his
extant lute works seem to be in the style of the early decades of the
18th century (even down to fashionable
doubling of the top and bottom line b
Indeed Monica.
Do we know if Henri Francois de G was Gallot d'Angleterre or is this
just my febrile speculation?
MH
--- On Sun, 20/3/11, Monica Hall wrote:
From: Monica Hall
Subject: [LUTE] Re: Other de Gallots
To: "Martyn Hodgson"
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Further to my last, I thought you both might like to see an example from the
collection 'Tre Serenata / Per il Gallichona' Dresden 2701.
Mandora/gallichon in gu
Quite a lot for mandora - if you count this as a 'lute'
MH
--- On Sat, 29/1/11, Roman Turovsky wrote:
From: Roman Turovsky
Subject: [BAROQUE-LUTE] polonaises
To: "BAROQUE-LUTE"
Date: Saturday, 29 January, 2011, 5:25
A question to the Collective Wisdom:
Wha
No attachments
--- On Tue, 30/11/10, ro...@rolfhamre.com wrote:
From: ro...@rolfhamre.com
Subject: [BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700
To: l...@manassero.net, tade...@mac.com
Cc: baroque-lute@cs.dartmouth.edu
Date: Tuesday, 30 November, 201
I have a copy of the Salzburg Lautencodex Ms III 25 which contains
these Weiss works (mostly for liutho, violino and basso but only the
lute tablature survives). Other composers include: Meckh, Block(Bloch),
Lauf(f)ensteiner, Bohr.
I have no evidence that the Weiss pieces in this
ugh I
> >>> > find the violin to be a bit too forward
> in the
> >>> recorded mix. They
> >>> > definitely did not follow Radolt's
> explicit
> >>> instruction that "the
> >>> > soprano part th
osers'
works at the time.
MH
--- On Sun, 7/11/10, Christopher Wilke wrote:
From: Christopher Wilke
Subject: [BAROQUE-LUTE] Re: Wenzel von Radolt
To: baroque-lute@cs.dartmouth.edu, "Edward Martin"
, "Martyn Hodgson" ,
"Bernd Haegem
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