In this somewhat nihilistically arcane vein I recall Dmitri
Shostakovich's instructions on playing his 15th string quartet: "I
want you to play it so that flies drop dead in midair, and that by
the end of the first movement the entire audience has gotten up and
left the building." -as best as
On Nov 29, 2007, at 8:58 PM, <[EMAIL PROTECTED]> wrote:
>> Really, really bad example. Lots of ensembles do
>> "German Music,
>> 1712-1720." They title it "Complete Brandenburgs"
>> and sell lots of tickets.
>
> But this isn't quite fair - "Bach" and "Brandenburg
> Concerto" are names people r
David,
I agree totally with you. Changing
instrumentation/voices can add so much and keep folks
glued to what's going to happen next. At any rate, I
was addressing solo lute performances - its hard to
get that same kind of "what comes next" expectation
from an audience when its just one guy
David,
--- David Rastall <[EMAIL PROTECTED]> wrote:
> On Nov 29, 2007, at 5:16 PM, <[EMAIL PROTECTED]>
>
>
> Once again, point taken. But it's not all that way.
> Consider
> Piazzolla: he's a cultural force. Listening to
> L'Histoire du Tango
> is for me like strolling through a galle
Howard,
--- howard posner <[EMAIL PROTECTED]> wrote:
>
> Really, really bad example. Lots of ensembles do
> "German Music,
> 1712-1720." They title it "Complete Brandenburgs"
> and sell lots of
> tickets.
>
But this isn't quite fair - "Bach" and "Brandenburg
Concerto" are names people reco
One can have a lovely program that is a stitch in time that is not
just lute solos.
I think most entertainments would have had songs and consorts.
The lute preludes & ricercars might just be the ideal glue, but not
the whole horse.
dt
At 07:59 PM 11/29/2007, you wrote:
>On Nov 29, 2007, at 5:1
On Nov 29, 2007, at 5:16 PM, <[EMAIL PROTECTED]>
<[EMAIL PROTECTED]> wrote:
> ...How can you program a whole concert that
> features, for example, "Italian Music, 1538-42" or
> "German Music, 1712-20" and have it interest anyone
> but diehard specialists? I personally love music from
> both of
On Nov 29, 2007, at 6:55 PM, howard posner wrote:
> Lots of blues or country guitarists are more picky about
> their instruments than lute players are.
No pun intended, I hope...
DR
[EMAIL PROTECTED]
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute
On Nov 29, 2007, at 2:16 PM, <[EMAIL PROTECTED]> wrote:
>I also believe this road of super-specialization
> (i.e. _must_ use a 7-course for this piece, _only_ a
> 9-course for this..., etc.) is an _extremely_
> dangerous road to go down for the entire field.
** *
> How c
Chris, Danny, Dan, et al,
Very well stated!! Ditto!! I am surprised at some of the remarks,
although very friendly & civil, of disdain for 8 course lutes, as only
Molinaro or Terzi used them. For example, labeling it inappropriate to
play Dowland on an 8 course lute, in that 7 course lutes w
Wayne,
Yes and no. Certainly, lutenists of the past were
not into "early music" the way we are now, but many of
the "greatest hits" of past eras remained popular well
into periods in which the mainstream style - or the
lute itself - was quite different.
Just look at the Augsberg manuscrip
On Nov 29, 2007, at 7:00 AM, Wayne Cripps wrote:
> I would think that in the old times, a lutenist would mostly play
> music from his or her time. They obviously would not play
> anything from their future, but I am sure they were mostly
> not too interested in music of the past, except perhaps f
Sean: I understand, a six course instrument is the appropriate instrument
for the music you choose to play. But let us assume you also wished to play
Molinaro---not good fair for the six course instrument. I know one size
fits all is an awful choice given all of the subtleties of period music
The Cambridge Manuscript seems to indicate that the latest Dowland of the
time was grouped together with F. DaMilano in the same book.
VW
- Original Message -
From: "Wayne Cripps" <[EMAIL PROTECTED]>
To:
Sent: Thursday, November 29, 2007 10:00 AM
Subject: [LUTE] Re: Is 8c really the s
Dear all,
I know this subject has been discussed before, and I have recently followed
the interesting discussions on the d minor continuo lute
the last week. However, regarding the choice of rider vs. swan necked
instruments for solo work, I have checked the archives, but I still
have some doubts
I can't argue with the experience and ears of others, but I have to
admit I'm a bit surprised by many of the statements being made about
the huge differences between 6, 7 and 8 course instruments in terms
of playability and inherent sound. My first real lute was an old 10
course that Pat O'
I would think that in the old times, a lutenist would mostly play
music from his or her time. They obviously would not play
anything from their future, but I am sure they were mostly
not too interested in music of the past, except perhaps for
a few master works. I doubt that lutenists were in
Yep, I've followed this baby too. And thought it finally almost settled
down till these paragraphs, Vance.
So if you or anyone else could explain to me how an eight course
instrument can slow you down I would be most appreciative. It seems
to me that a six course instrument would have the
Dear Martin and All
I go regularly to an amateur music salon, once a month, where I have
the good fortune of hearing a lutist who can choose between 33 lutes
(including 3 Baroque Malers, and 4 Baroque Freis) according to the
repertoire he is playing. He usually does make judicious choices,
So really it is more a head issue than a tactile one? Interesting but
understandable. I have always had problems playing something on someone
else's instruments right out of the gate. One has to get acquainted with
the Lute to play it, it seems to me.
vw
- Original Message -
From:
http://fr.groups.yahoo.com/group/Le_luth/
Luca
dc on 29-11-2007 10:29 wrote:
Luca Manassero écrit:
I made the same question to the French-speaking lute list about 18
months ago.
Where is this French lute-list?
Dennis
To get on or off this list see list information at
http://www.cs.
Luca Manassero écrit:
I made the same question to the French-speaking lute list about 18 months
ago.
Where is this French lute-list?
Dennis
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Wednesday 28 November 2007 18:32, Omer katzir rattled on the keyboard:
> And for three days (27-29.12) i'm going to be alone in brussels.
> Any one knows about good lute concerts there in those dates?
>
> damn... I'm going to miss my precious Francesca.
>
> And if i mentioned her name... any on
This "slow you down" aspect is one that I am finally able to address
personally after over 35 years of lute playing. I finally got my
first 7 course lute last year; an Andreas Holst, 62 cm. SL. All my
previous R lutes- 57 to 72 cm- had all been 8 course. (I'm not
counting the 10 course and Baro
I'm a little perplexed by this discussion. Is the assertion being made that
lutenists who played 10c lutes at the inception of these instruments only
played music specifically written for 10c and ceased playing music that
appeared before unless they also had a 6c, 7c or 8c instrument?
In the 10c
25 matches
Mail list logo
