I like Kapsberger and Piccinini, and Michelagnolo Galilei.
Those pieces are ok to play, but most French stuff just doesn't sound
right to me without the deeper register...
Am 15.12.2017 um 02:28 schrieb G. C.:
>Unfortunately, 7 courses don't take you very far.
Even if you should only
>Unfortunately, 7 courses don't take you very far.
Even if you should only have 7 courses, that is no reason, not to play
music made for different tunings or more courses. You can always
octavate bases, and most of the music happens on those 6 original ones
anyway.
G.
--
To
Don't leave out Cipriano de Tore.
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Original message
From: Ron Andrico
Date: 12/14/17 12:31 PM (GMT-05:00)
To: Tristan von Neumann , lutelist Net
Subject: [LUTE] Re: not about strings !
I agre
>Unfortunately, 7 courses don't take you very far.
Could you pls. elaborate? I'm not sure what you are saying with this.
G.
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This is one way to look at it, and these Lutists certainly were the Erik
Saties of their time. "Musique d'ameublement" in rooms rich in reverb.
I can see the appeal!
Unfortunately, 7 courses don't take you very far.
Am 14.12.2017 um 23:14 schrieb G. C.:
Yes, of course this music is "formula
Yes, of course this music is "formulaic and skinny". That's the whole
point! To allow the 10 / 11 course to sing with its newly aquired bass
register. To savour and bring out the emerging notion of "affekt". Its
a reaction to the rich polyphony of the cinquecento. Meditative,
poised,
On 14/12/2017 19:32, Tristan von Neumann wrote:
True, but compared to earlier styles, these seem kind of skinny, also
oftentimes formulaic.
Skinny and formulaic?? Have you been using Google translate again?
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True, but compared to earlier styles, these seem kind of skinny, also
oftentimes formulaic. (I love Froberger though, I used to play some of
his fugues on my piano.)
But this is surely different in different countries... in Germany at
least colorful Venetian Style vocal and instrumental music
On 14/12/2017 18:31, Ron Andrico wrote:
But seventeenth century music is indeed more extrovert and
performance-oriented than the more subtle and introspective music of
the sixteenth century. I believe this to be the thrust of the remarks
J. Titelouze directed to Mersenne
What about
The complaint is surely understandable...
Coming from lush madrigals of the likes of Marenzio and earlier
Monteverdi the music of the 1620s sure look like a monodic desert.
Am 14.12.2017 um 15:43 schrieb Jean-Marie Poirier:
Georges, Walsh Stuart did it before I could do anything !
The end o
Georges, Walsh Stuart did it before I could do anything !
The end of the paragraph you quoted is worth reading too :
"Secondement les esprits de ce temps sont préocupez de tant de vanité,
d'ambition et d'avarice, que la musique
ne trouve plus lieu pour s'i loger puissament, de sorte que pour la
Am 14.12.2017 um 12:49 schrieb WALSH STUART:
> Google translate is amazing: translations between many different
> languages. And it's free...insofar as anything from google is free.. a
> lure into a google-dominated world.
It's not so amazing. It could be much better.
Google translate runs every
Luth, pouvoir de la musique et J. Titelouze.
Le 2 mars 1622 Jehan Titelouze écrit au Père Mersenne à propos de la
puissance de la musique des Anciens sur les passions :
« …Il me souvient d'avoir veu en ma jeunesse tout le monde admirer et
se ravir d'un homme qui touchoit
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