[BAROQUE-LUTE] For Sale: 14C THEORBO/BAROQUE LUTE BY IVO MAGHERINI (2015)
Dear Lutenists, A very happy new year! In case this may be of interest, do contact me in a private message. All best wishes, Benjamin 14C THEORBO/BAROQUE LUTE BY IVO MAGHERINI (2015), sold with PVC ultra-lightweight Vorko Case. 76cm/120cm. Can be set up with single or double strings. Fantastic instrument that can be tuned as a theorbo in A or as a "thA(c)orbe de piA"ces" in D. It can also be set up as a big swan-neck baroque lute like the later German monster lutes. I purchased it for certain projects in 2015, but no longer have need of the instrument. Asking price is aNOT6500. Instrument can be seen in Paris. Photos here: [1]http://www.cs.dartmouth.edu/~wbc/lute/forsale.html -- [2]www.luthiste.com t +33 (0) 6 71 79 98 98 -- [3]www.luthiste.com t +33 (0) 6 71 79 98 98 -- References 1. http://www.cs.dartmouth.edu/~wbc/lute/forsale.html 2. http://www.luthiste.com/ 3. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Prom 25
Dear Lutenists, Just a note to say that Prom 25, performed in London and broadcast worldwide on the BBC this [1]coming Tuesday, will be particularly lutey. It is a semi-staged production of Monteverdi's L'Orfeo directed by Sir John Eliot Gardiner, with the English Baroque Soloists and Monteverdi Choir, and no less than 4 lutists: David Miller, Elizabeth Kenny, Josias Rodriguez and myself. Should be fun! If you can't make the performance at the Royal Albert Hall, it will be broadcast live on BBC Radio 3 (and telly, I think). Here is the link: [2]http://www.bbc.co.uk/events/e548gw All best, Benjamin -- [3]www.luthiste.com t +33 (0) 6 71 79 98 98 -- References 1. x-apple-data-detectors://0/ 2. http://www.bbc.co.uk/events/e548gw 3. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Lute for sale
Dear Luters, A note to say that I am selling an 11c lute by Stephen Murphy, made in 1994. 69 cm string length, after Hoffmann (private collection in Switzerland). The instrument has a very fine carved pegbox. I currently have it set up as a 10c lute in E (2c single) for work with countertenors, but my new 12c lute is arriving soon and it will cover the same function. It is a great instrument with particularly fine woods on the table and back. There was a crack (mercifully with, and not against, the grain) on the soundboard but this has been repaired by Craig Ryder. The lute is currently in top condition. Kingham case included. Please do contact me off list for photos and further information. All best wishes, Benjamin -- [1]www.luthiste.com t +33 (0) 6 71 79 98 98 -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] A message from our friend Grant Tomlinson
Dear All, I forward the following message from our friend Grant Tomlinson: Dear Benjamin, Just a quick note.A I have finally figured out how to get into my email account from Kathmandu, and have been reading through all of the concerned messages from friends.A Thanks so much for your email, it means a lot to hear from you.A Could you put a post on Facebook for me to let the lute people know that I am safe and well?A Stella, Paul and I were almost killed in the same avalanche that got Jan and the 3 French Canadians. I hope to be back in Vancouver by Nov. 1st, but this may change if the weather gets warmer (giving hope of finding Jan's body before winter truly sets in). Will be in touch with you later... Sincerely,A Grant. -- [1]www.luthiste.com t +33 (0) 6 71 79 98 98 -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Site
Dear Lutenists, I cordially invite you to peruse my updated website, with some new recordings, articles, and a few other goodies to boot. All best wishes, Benjamin [1]http://luthiste.com Benjamin Narvey, lute - Welcome Official Website of the Canadian lute player, Benjamin Narvey [2]luthiste.com -- [3]www.luthiste.com t +33 (0) 6 71 79 98 98 -- References Visible links 1. http://lm.facebook.com/l.php?u=http%3A%2F%2Fluthiste.com%2Fh=oAQE8eR7renc=AZN-9_sDFUlrYOh6FciylDbxJqNRpZS1x9NaMKcnjzIW7KHuxEmY-rXyNJuEhukcLSks=1 2. http://luthiste.com/ 3. http://www.luthiste.com/ Hidden links: 5. http://lm.facebook.com/l.php?u=http%3A%2F%2Fluthiste.com%2Fh=oAQE8eR7renc=AZN-9_sDFUlrYOh6FciylDbxJqNRpZS1x9NaMKcnjzIW7KHuxEmY-rXyNJuEhukcLSks=1 6. http://lm.facebook.com/l.php?u=http%3A%2F%2Fluthiste.com%2Fh=-AQH9OlZBenc=AZP4YtybL2o5PKpgCre5G3k5J_S0-aBIOELEQ_saBb72FtUdSt5lqJ656R9Hmzq9WaIs=1 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Stephen Gottlieb
A lovely film about the late Stephen Gottlieb in his workshop making a lute, made for the BBC in their aIn The Making' series, filmed in 1979 and broadcast in 1980 has now been posted to the web, for free viewing A [1]http://www.editor.net/lutemaker/inthemaking.html -- [2]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.editor.net/lutemaker/inthemaking.html 2. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] La Génération Harmonique
(English below) Bonjour A toutes et A tous,A Un petit mot pour vous dire que La GA(c)nA(c)ration harmonique - David Chivers (violon), Brice Sailly (claveAS:in) et moi-mA-ame (thA(c)orbe) - va jouer un petit concert ce dimanche A la Cave du 38 Rue de Rivoli, un endroit connu des baroqueux ! [1]http://www.38riv.com/index.php?p=fiche_evtnum_evt34page=1 Nous allons jouer un trAs beau programme de Corelli, Leclair, de VisA(c)e et Biber, et nous espA(c)rons que vous allez venir nombreux ! Bien A vous tous, Et bien amicalement, Benjamin *** Dear All, Just a note to say that La GA(c)nA(c)ration harmonique - David Chivers (violin), Brice Sailly (harpsichord) and myself (theorbo) - will be playing a concert this Sunday at the venue Cave du 38 rue de Rivoli: [2]http://www.38riv.com/index.php?p=fiche_evtnum_evt34page=1 It is a nice (and new!) programme of Corelli, Leclair, de VisA(c)e et Biber, and we hope to see some of you there! As ever, Benjamin -- [3]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.38riv.com/index.php?p=fiche_evtnum_evt34page=1 2. http://www.38riv.com/index.php?p=fiche_evtnum_evt34page=1 3. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Lute/Theorbo Case for Sale
SWAN-NECK LUTE/SMALL THEORBO CASE: made by Tumiati, this is a hard-shell case made of lightweight carbon fibre, weighing nominally more that a Kingham (6 Kg). It could fit even a very wide-bodied instrument, and a total instrument length of about 130 cm.A It is in reasonable shape and I will consider any offers. The case is in Paris. Please contact Benjamin Narvey atA [1]luthi...@gmail.com -- [2]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. mailto:luthi...@gmail.com 2. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Obituary for Stephen Gottlieb
Dear Lutenists, Stephen GottliebA's obituary was published in today's edition of the Guardian: [1]http://www.theguardian.com/music/2014/may/20/stephen-gottlieb He will be greatlyA missed. Best to you all, BenjaminA -- [2]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.theguardian.com/music/2014/may/20/stephen-gottlieb 2. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Twelve Course Lutes
Dear All, Does anybody on this list have any experience with 12c lutes? I am considering getting one if I can get the funds together and I would be grateful for any counsel drawn from actual experience. I have never even laid finger to fret on one of these lutes before, so it is a bit of a leap of faith. That said, there is clearly so much music that could be played in either vieux ton or nouveau ton on this lute, and I think it is the ultimate historical continuo beast for so much 17c repertoire, in particular English music (Purcell, Lawes, etc.) Also: string lengths. I know they can be very small (around 55cm) to very big (perhaps 76cm or so). Any suggestions? I am kind of torn between having perhaps a smaller solo instrument and a larger one that I could use for accompaniment. Any thoughts? Best wishes, Benjamin -- [1]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Paul Thomson
Dear Lutenists, Should any of you have a baroque lute (11c or 13c) by Paul Thomson that you might consider selling, could you please get in touch? Many thanks, Benjamin -- [1]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Big Edlingers
Dear Sterling, I have been playing Weiss, et al., on a 76cm string length recently and it works nicely, although for some of the crazier keys where big stretches are involved it can be uncomfortable. That said, most of the rep works fine on that string length - and I have very small hands. At 392 you can have a gut f' last several weeks, although lower would probably work even better. I have a large 11c I keep at 370, it sounds nice and meaty. Hope this helps. Regards, Benjamin On Thursday, July 11, 2013, sterling price wrote: Hi all-- The list has seemed very inactive lately so here is a question: Is there anyone on the list who plays a baroque lute on the big side, say around 76 cm? I am just curious as to what strings and pitch has worked for you. I just adore my Larry Brown 1987 Edlinger, and I'm thinking of trying something new with the strings. It has a mix of just about everything now. Thanks! --Sterling -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- [2]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. http://www.luthiste.com/
[BAROQUE-LUTE] Anna Besson Benjamin Narvey en Concert ce Dimanche
--089e01681d16d15af804d9db866a Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable *Murmures des siècles passés : Saison 2013 de Musique Ancienne à l'Arcades Institute (8 place de la monnaie à Tours ).* * * Dimanche 14 avril à 17h : Leclair, Baron, Weiss, De Visée ( 18e siècle) par Anne Besson : flûte traversière *baroque, et Benjamin Narvey : luth baroque.* * * *Bienvenue au dernier concert de la saison ! Profitez ! * * * *Venez vous régaler des sonorités suaves et douces du luth et du traverso ..* * * ** * * -- www.luthiste.com *t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98* -- www.luthiste.com *t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98* --089e01681d16d15af804d9db866a Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable b style=font-family:#39;Lucida Grande#39;;line-height:24px;color:rgb(51,51,51)span/spanquot;Murmures des siècles passésquot; : Saison 2013 de Musique Ancienne à l#39;Arcades Institute (8 place de la monnaie à Tours )./bbr div class=gmail_quotediv style=word-wrap:break-wordspan style=color:rgb(51,51,51)div style=border-top-width:0px;border-top-style:initial;border-top-color:initial;margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;line-height:24px font face=#39;Lucida Grande#39;bbr/b/font/div/spanspan style=color:rgb(51,51,51);font-family:Palatino;font-style:italic;font-weight:bold;font-size:x-largeDimanche 14 avril à 17h : Leclair, Baron, Weiss, De Visée ( 18e siècle) par Anne Besson : flûte traversière /spanspan style=color:rgb(51,51,51)span style=font-family:Palatino;font-size:x-largebibaroque, et Benjamin Narvey : luth baroque./i/b/spandiv style=border-top-width:0px;border-top-style:initial;border-top-color:initial;margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;line-height:24px bifont face=Palatino size=5br/font/i/b/divdiv style=margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0pxbifont face=Palatino size=5Bienvenue au dernier concert de la saison ! Profitez ! /font/i/b/div div style=margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0pxbifont face=Palatino size=5br/font/i/b/divdiv style=margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px bifont face=Palatino size=5Venez vous régaler des sonorités suaves et douces du luth et du traverso .../font/i/b/div div style=margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;min-height:21pxfont face=Palatino size=5bibr/i/b/font/divdiv style=margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px font face=Palatino size=5biimg height=877 width=624 src=cid:2675A723-9539-43D2-BAFC-ECE9AD89EA68/i/b/font/div/spandiv divfont face=Palatino size=5bibr/i/b/font/div/div /div/div-- bra style=font-family:arial black,sans-serif;color:rgb(51,51,51) href=http://www.luthiste.com; target=_blankwww.luthiste.com/aspan style=padding-right:16px;width:16px;min-height:16px/spanbr br b style=color:rgb(51,51,51)t +33 (0) 1 44 27 03 44brp/m +33 (0) 6 71 79 98 98/bbrbr brbrbr-- bra style=font-family:arial black,sans-serif;color:rgb(51,51,51) href=http://www.luthiste.com; target=_blankwww.luthiste.com/aspan style=padding-right:16px;width:16px;height:16px/spanbrbr b style=color:rgb(51,51,51)t +33 (0) 1 44 27 03 44brp/m +33 (0) 6 71 79 98 98/bbrbrbr --089e01681d16d15af804d9db866a-- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Article Request
Dear Luters, Might one of you charming people be able to pass along the following article? It is: Lynda Sayce, 'Continuo Lutes in 17th and 18th century England', Early Music, 23 (1995), 667-684. I'd be eternally grateful. Many thanks, Benjamin -- [1]www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: LUTE/THEORBO CASES for sale
Hello luters, Just passing this on for those who may be interested: LUTE/THEORBO CASES for sale: I have duplicate cases for various instruments of mine (some lighter, some stronger, for varying travel conditions) and, due to a combination conjugal pressure and the restraints of a small Paris flat, I have decided to put the lot on sale, sell the ones that go and keep the ones that don't. They are: - 1 ultra lightweight Japanese SOMA case for a huge theorbo (weighs less than a kilo). Made in 2010. Good condition. 600 Euros obo. - 2 ultra lightweight Japanese SOMA lute cases, one for a Renaissance lute, one for a rider 13c lute. Made in 2010. Perfect condition. 500 euros each, obo. - 1 sunsafe grey Kingham case, with the extra lightweight cloth that they don't offer anymore (it used to cost 40% extra; this is much lighter than the normal lightweight material they offer on their site). Made in 2006. Perfect condition. 800 euros obo. Please get in touch at [1]luthi...@gmail.com. Cases in Paris. Photos/info on request. -- [2]www.luthiste.com t [3]+33 (0) 1 44 27 03 44 p/m [4]+33 (0) 6 71 79 98 98 -- References 1. mailto:luthi...@gmail.com 2. http://www.luthiste.com/ 3. tel:%2B33%20%280%29%201%2044%2027%2003%2044 4. tel:%2B33%20%280%29%206%2071%2079%2098%2098 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Vorko Cases
Hi luters, Does anyone on this list have experience with Victor Vorko's cases? See: http://victorvorko.voila.net/history.html If so, please get in touch privately. Best! Benjamin Sent from my iPhone To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] CONCERT : Jardiniers de l'âme, Vendredi 9 décembre à 20 h 45
Dear Luters, In case any of you happen to be in Paris tomorrow Best, Benjamin Jardiniers de l'ame Un concert de musique baroque autour de G.F. Haendel et J.S. Bach avec Maud Gnidzaz, soprano Laure Vovard, clavecin Ulrike Bruett, violoncelle baroque Michelle Tellier, flutes `a bec Benjamin Narvey, luth et theorbe Vendredi 9 decembre 2011 `a 20 h 45 Chapelle de Jesus-Enfant 29 rue Las Cases, 75007 PARIS Metro : Solferino, Assemblee Nationale, Invalides Parc de stationnement Place des Invalides Prix des places : gratuit pour les enfants jusqu'`a 12 ans Tarif normal : 15 EUR Reductions : 10 EUR Renseignements : 06 60 15 71 30 Le monde et son humanite sont la vallee qui sculpte l'ame, ecrivait le poete John Keats Les compositeurs des XVIIeme-XVIIIeme siecles voyagent `a travers les tourments de l'etre, s'enflamment pour l'amour, questionnent la destinee. Haendel et Bach jardiniers nous tournent ainsi vers l'ombre et la lumiere, nous font respirer une treille de contrepoint parfumee ou la floraison ensoleillee d'un lyrisme italien dans une envolee de cantates et sonates. -- [1]www.luthiste.com t [2]+33 (0) 1 44 27 03 44 p/m [3]+33 (0) 6 71 79 98 98 -- References 1. http://www.luthiste.com/ 2. tel:%2B33%20%280%29%201%2044%2027%2003%2044 3. tel:%2B33%20%280%29%206%2071%2079%2098%2098 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Récital luth/Lute Recital
--bcaec51967adb1cfcb04a4484b89 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable (English below) Bonjour à tous, Un petit mot pour vous dire que je fais un petit récital de luth ce dimanche à la Cave du 38 rue de Rivoli :http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 Je joue un programme de Gallot, Mouton, de Visée, Conradi et Weiss sur trois luths entièrement cordés en boyau - ça ne se voit pas souvent ! Le son est vraiment magnifique, je pense. Bien à vous tous, Et bien amicalement, Benjamin *** Dear All, Just a note to say that I'll be playing a recital this Sunday at the Cave du 38 rue de Rivoli:http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 It is a nice (and new!) programme of Gallot, Mouton, de Visée, Conradi and Weiss, all played on three lutes all strung in gut. The sound should be really magnificent, I think. Hope to see some of you there! As ever, Benjamin -- www.luthiste.com *t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98* --bcaec51967adb1cfcb04a4484b89 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable (English below)brdiv class=gmail_quotedivdiv class=h5div class=gmail_quotedivdivdiv class=gmail_quotebrBonjour à tous, br br Un petit mot pour vous dire que je fais un petit récital de luth ce dimanche à la Cave du 38 rue de Rivoli :a href=http://www.38riv.com/web/fiche_evt.php?num_evt=482amp;m=2011-05amp;page=1amp;total=23; rel=nofollow target=_blankspan/span/abr bra href=http://www.38riv.com/web/fiche_evt.php?num_evt=482amp;m=2011-05amp;page=1amp;total=23; rel=nofollow target=_blankspanhttp://www.38riv.com/web/f/spanspan/spanspaniche_evt.php?num_evt=482amp;m/spanspan/span=2011-05amp;page=1amp;total=23/abr brJe joue un programme de Gallot, Mouton, de Visée, Conradi et Weiss sur trois luths entièrement cordés en boyau - ça ne se voit pas souvent ! Le son est vraiment magnifique, je pense.brbrBien à vous tous,brEt bien amicalement,br Benjaminbrbr***brbrDear All,brbrJust a note to say that I#39;ll be playing a recital this Sunday at the quot;Cave du 38 rue de Rivoliquot;:a href=http://www.38riv.com/web/fiche_evt.php?num_evt=482amp;m=2011-05amp;page=1amp;total=23; rel=nofollow target=_blankspan/span/abr br a href=http://www.38riv.com/web/fiche_evt.php?num_evt=482amp;m=2011-05amp;page=1amp;total=23; rel=nofollow target=_blankspanhttp://www.38riv.com/web/f/spanspan/spanspaniche_evt.php?num_evt=482amp;m/spanspan/span=2011-05amp;page=1amp;total=23/abr brIt is a nice (and new!) programme of Gallot, Mouton, de Visée, Conradi and Weiss, all played on three lutes all strung in gut. The sound should be really magnificent, I think.brbrHope to see some of you there!br As ever,brBenjaminbrfont color=#88-- bra style=font-family:arial black,sans-serif;color:rgb(51, 51, 51) href=http://www.luthiste.com; target=_blankwww.luthiste.com/abrbrb style=color:rgb(51, 51, 51)t +33 (0) 1 44 27 03 44br p/m +33 (0) 6 71 79 98 98/bbr/font/div/div/div/div /div/div/div --bcaec51967adb1cfcb04a4484b89-- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Lute Recital in Paris
Oops, let's try that again - without the spam! I don't think the server liked the French text Dear All, Just a note to say that I'll be playing a recital this Sunday at the Cave du 38 rue de Rivoli: http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 It is a nice (and new!) programme of Gallot, Mouton, de Visée, Conradi and Weiss, all played on three lutes all strung in gut. The sound should be really magnificent, I think. Hope to see some of you there! As ever, Benjamin -- www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: [BAROQUE-LUTE] Re: Récital luth/Lute Recital
Thanks Arto - perhaps next time! Bestest, Benjamin On 27 May 2011 23:23, wikla wi...@cs.helsinki.fi wrote: Good luck Benjamin! I really would like to be there: most interesting repertoire! Arto On Fri, 27 May 2011 23:05:21 +0200, Benjamin Narvey luthi...@gmail.com wrote: --bcaec51967adb1cfcb04a4484b89 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable (English below) Bonjour à tous, Un petit mot pour vous dire que je fais un petit récital de luth ce dimanche à la Cave du 38 rue de Rivoli :http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 Je joue un programme de Gallot, Mouton, de Visée, Conradi et Weiss sur trois luths entièrement cordés en boyau - ça ne se voit pas souvent ! Le son est vraiment magnifique, je pense. Bien à vous tous, Et bien amicalement, Benjamin *** Dear All, Just a note to say that I'll be playing a recital this Sunday at the Cave du 38 rue de Rivoli:http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23 It is a nice (and new!) programme of Gallot, Mouton, de Visée, Conradi and Weiss, all played on three lutes all strung in gut. The sound should be really magnificent, I think. Hope to see some of you there! As ever, Benjamin -- www.luthiste.com *t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98* --bcaec51967adb1cfcb04a4484b89 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable (English below)brdiv class=gmail_quotedivdiv class=h5div class=gmail_quotedivdivdiv class=gmail_quotebrBonjour à tous, br br Un petit mot pour vous dire que je fais un petit récital de luth ce dimanche à la Cave du 38 rue de Rivoli :a href=http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23; rel=nofollow target=_blankspan/span/abr bra href=http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23; rel=nofollow target=_blankspanhttp://www.38riv.com/web/f/spanspan/spanspaniche_evt.php?num_evt=482m/spanspan/span=2011-05page=1total=23/abr brJe joue un programme de Gallot, Mouton, de Visée, Conradi et Weiss sur trois luths entièrement cordés en boyau - ça ne se voit pas souvent ! Le son est vraiment magnifique, je pense.brbrBien à vous tous,brEt bien amicalement,br Benjaminbrbr***brbrDear All,brbrJust a note to say that I'll be playing a recital this Sunday at the Cave du 38 rue de Rivoli:a href=http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23; rel=nofollow target=_blankspan/span/abr br a href=http://www.38riv.com/web/fiche_evt.php?num_evt=482m=2011-05page=1total=23; rel=nofollow target=_blankspanhttp://www.38riv.com/web/f/spanspan/spanspaniche_evt.php?num_evt=482m/spanspan/span=2011-05page=1total=23/abr brIt is a nice (and new!) programme of Gallot, Mouton, de Visée, Conradi and Weiss, all played on three lutes all strung in gut. The sound should be really magnificent, I think.brbrHope to see some of you there!br As ever,brBenjaminbrfont color=#88-- bra style=font-family:arial black,sans-serif;color:rgb(51, 51, 51) href=http://www.luthiste.com; target=_blankwww.luthiste.com/abrbrb style=color:rgb(51, 51, 51)t +33 (0) 1 44 27 03 44br p/m +33 (0) 6 71 79 98 98/bbr/font/div/div/div/div /div/div/div --bcaec51967adb1cfcb04a4484b89-- -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- www.luthiste.com t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98
[BAROQUE-LUTE] Re: L'Amant unique?
Dear Chris, There are the following wonderful pieces without BOTH top strings in MS Saizenay (pp. 115-6): Allemande sans chanterelle ni seconde Courante sans chanterelle ni seconde There is also a lovely Chaconne sans chantrelle on p. 120 Oh yes, and L'Adieu by Gaultier, off the top of my head. It goes without saying that this repertoire works perfectly on a d-minor theorbo Best, Benjamin On 21 January 2011 18:14, wikla [1]wi...@cs.helsinki.fi wrote: Hi Chris, in ms. Barbe La Grenoueillere de Gallot, p. 38, and Rossignol du V.Gautier, p. 63. I think I've seen others, too. I'll tell, when I find them again. Arto On Fri, 21 Jan 2011 08:05:11 -0800 (PST), Christopher Wilke [2]chriswi...@yahoo.com wrote: Hi all, I've been playing through some pieces by Gallot lately and noticed that his famous L'Amant Malheuruex allemande intentionally does not use either of the top two courses. I know of lots of pieces sans chanterelle, but can't think of any other piece that dispenses with the second course as well. Has anyone else run across anything? Maybe even an anonymous piece? Chris Christopher Wilke Lutenist, Guitarist and Composer [3]www.christopherwilke.com To get on or off this list see list information at [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [5]www.luthiste.com -- References 1. mailto:wi...@cs.helsinki.fi 2. mailto:chriswi...@yahoo.com 3. http://www.christopherwilke.com/ 4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 5. http://www.luthiste.com/
[BAROQUE-LUTE] Chaconne from Saizenay
Dear all, If anyone on this list could scan me the chaconne on page 120 of the Saizenay manuscript I'd be much obliged! Many thanks, Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: d-minor theorbo specs
A subject close to my heart! Precisely as Burris explains - and as my own readings of Baron, Mattheson, and Weiss would confirm - the d-minor theorbo did not have a re-entrant top f'. I am not aware of any source that backs this up, although of course absence of evidence is not evidence of absence. At any rate, I have tried Stephen Stubb's suggestion (he made it to me years ago) and it does work very nicely (more of an Italian theorbo effect, predictably), but of course it does rather change the logic of the fingerboard: after all, the d-minor tuning is so logical and Cartesian, so turning the tuning into a re-entrant one doesn't in my mind stand to reason on stylistic grounds - and of course one cannot simply play as though it were a baroque lute with the f up an octave at any rate. Other advantages of losing the high f string: - strumming is so much easier without the top f since it is not necessary to make the big stretches to double the thirds on this course - c minor, for example, is an ouch with this tuning. And all this annoying amount of physical effort is, remember, just to double the same third you are already playing on the other (unison) f string below... - on proper-sized theorboes (85cm and up) it is vastly more ergonomic to only have to stretch across 5 courses and not 6no mean thing. Finally, this tuning (d' - a - f - d - A) is a legitimate baroque guitar tuning employed by both Granata (1659) and by Botazzari (1663), so you don't necessarily need to change everything around if you have to double on baroque guitar for continuo gigs(although, for the record, regular b-guitar tuning is more HIP; still, the d-minor guitar tuning is, to my mind, a viable historical option.) My thoughts! Benjamin On 4 July 2010 14:34, Roman Turovsky r.turov...@verizon.net wrote: Tim Burris wrote a nice dissertation on the subject, with a CD on a Dm theorbo as part of it. I'm sure he'd have a betterly informed opinion apropos. RT - Original Message - From: Christopher Wilke chriswi...@yahoo.com To: lutelist Net l...@cs.dartmouth.edu; Baroque Lute List (E-mail) baroque-lute@cs.dartmouth.edu; David van Ooijen davidvanooi...@gmail.com Sent: Sunday, July 04, 2010 7:35 AM Subject: [BAROQUE-LUTE] Re: d-minor theorbo specs David, I had a conversation with Stephen Stubbs the other night (us having a great deal in common by virtue of our both having owned theorbos with fingerboard lengths close to 100cm, but a great deal less in common by virtue of our respective abilities on said theorbos) and the subject of the d minor theorbo came up. Stephen claims that there is a wide spread misconception about the tuning. He says that it is not a baroque lute without the first course, but rather a d-minor lute with the first string down the octave (reentrant). The first six courses would therefore be: f - d' - a - f - d - A I don't know about Stephen's historical evidence is for this, but I admit that it does conform to Baron's statement that the German lutenists did this so that they could use the exact same chord shapes they knew from their regular lutes. At the very least, it would no doubt make life a little easier for the modern lutenist who already does continuo on a d-minor lute. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sun, 7/4/10, David van Ooijen davidvanooi...@gmail.com wrote: From: David van Ooijen davidvanooi...@gmail.com Subject: [BAROQUE-LUTE] d-minor theorbo specs To: lutelist Net l...@cs.dartmouth.edu, Baroque Lute List (E-mail) baroque-lute@cs.dartmouth.edu Date: Sunday, July 4, 2010, 3:51 AM The definition of a lute player is an instrumentalist who's always one instrument short. For me, the current missing instrument is a d-minor theorbo. What should be the specs? I know there a few of you playing such beasts (Benjamin?). I'm looking for enough chromatics in the bass to play Bach continuo without too many compromises, St John Passion obligato part as written. Large enough for gut basses on the fretboard, small enough for highest course d'. First proposition on the fingerboard: d' - a - f - d - A - G - F diapassons: E - Eb - D - C - B - A - G Single or double strings? Model? Historical examples? Anyone with experience? David - where to find the money ... -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com
[BAROQUE-LUTE] Re: The earliest d-minor tuning?
Hi all, Interesting thread! In fact, the d-minor tuning (what came to be known as the accord ordinaire) was around earlier. Thomas Mace writes in 1676 that the d-minor tuning, which although it be (to my knowledge) at least 40 years old; yet it goes under the name of the new tuning [accord nouveau] still. (Mace, Musick's Monument, p. 191; emphasis mine). If we take Mace at his word, this would place the development of the d-minor tuning at a date no later than 1636, but probably earlier. Although we like to preface conclusions drawn from Mace with caveats, his comment in this instance really does make sense: we must remember that the commonly cited date of 1638 is in fact only the first *publication* we have with music in this tuning: Pierre Ballard's Tablature de Luth de different autheurs (Paris: Ballard, 1638). Of course, the d-minor tuning (what came to be known as the accord ordinaire) had to have been around earlier: obviously the discovery of this tuning, the mastery of playing in it, the composition of pieces in it, and the publication process all took some time, I should think at the very least 5 years or so, but probably something more like ten years. (With regards to this last point, it is worth noting that even in our own digital age publication usually takes - at least! - a year or two, and that this process was a substantially longer one in the 17th century.) Finally, the absence of evidence is not evidence of absence: the first print to use the accords nouveaux, Pierre Ballards Tablature de luth de differents autheurs sur laccord ordinaire et extraordinaire (Paris, 1623) is now lost, and it is entirely possible that the d-minor tuning made its first appearance here; IFF this were the case, we could even back date the d-minor tuning to as early as the 16-teens I admit that this is pure speculation, however. With everything taken together, if I were to hazard a guess, I would probably date the inception of the d-minor tuning as occurring at some time in the 1620's. Best wishes, Benjamin On 25 April 2010 10:11, Mathias Roesel [1]mathias.roe...@t-online.de wrote: All textbooks that I'm aware of mention 1638 as the first use of D minor tuning in print. Mathias wikla [2]wi...@cs.helsinki.fi schrieb: Hey gang, what could be the earliest written or printed use of d-minor tuning? I know the Ballard and P. Gaultier books of 1638, both having some pieces (minority) in that tuning. First time? The Ballard 1631 doesn't seem to have any? Anyone knows any earlier than 1638 use of that tuning? Arto To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [4]www.luthiste.com -- References 1. mailto:mathias.roe...@t-online.de 2. mailto:wi...@cs.helsinki.fi 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. http://www.luthiste.com/
[BAROQUE-LUTE] Ms. Schwerin 641
Hello luters, If anyone should happen to have a facsimile of Ms. Schwerin 641, could you get in touch off list? Many thanks! Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Thick Gut
A very Merry Christmas to one and all! 'Tis the season to be merry, and so I'm getting new strings...and would like to run something past this list! I'm currently setting up a theorbo that goes down to a low F (i.e. the lowest diapason goes down a tone below the normal low G) to work at a maximum pitch of A=392 - so LOW! It would seem that the low F course would have to be around 1.6mmand this makes me wonder: what is the thickest gut people on this list may have experience going to/would advise using? I've only gone as far as about 1.3mm with plain gut(I realise this is also a question of taste and tolerance.) I know I could use Venice, gimped, or perhaps pistoys for such a low course tooany thoughts? All best holiday wishes, Benjamin -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [1]www.luthiste.com -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Triple-extension 13c Swan Neck by Grant Tomlinson For Sale
Dear All, Please excuse this message. For those interested, please respond off-list. All best wishes, Benjamin For Sale: 13 course Widhalm with Jauck-style theorboed upper extension by Grant Tomlinson (made in 2000) Low pitch f ' or e'. String length: 73 cm / 89.8 cm / 102 cm. Stringing: 2 x 1, 6 x 2 / 3 x 2 / 2 x 2 The body and soundboard of this theorboed 13 course are based on the 1755 Widhalm, Nurnberg MIR903. The triple extension, neck and bridge are based on two instruments by Andreas Jauck (Yale and Brussels). Back of 11 Honduran rosewood ribs with holly spacers. Neck and top of bridge ebony-veneered. Fingerboard, points and edge binding of ebony. Extension of maple, dyed black. Decorative knot carved around the rose. The action is silky-smooth. Comes with Kingham case (grey) in good condition. Photos of this lute are available on Grant's website: [1]http://www.tomlinsonlutes.com/thirt2.html , No.3. For sound files, more photos, or any other questions, please contact Benjamin Narvey for details: [2]luthi...@gmail.com -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [3]www.luthiste.com -- References 1. http://www.tomlinsonlutes.com/thirt2.html 2. mailto:luthi...@gmail.com 3. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Music Morality
Dear all, In case any of you may be in London this coming Monday, I am giving a paper on French baroque lute music at the Music and Morality conference hosted by the Institute of Musical Research and the Institute of Philosophy (University of London). See below for details: [1]http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performa nce-events/music-and-morality.html This looks set to be a really interesting conference (Susan McClary, Jerrold Levinson, John Deathridge, Roger Scruton and many others will be there), and it even appears that parts of the conference may be broadcast on the BBC. I have included the abstract below. All best wishes, Benjamin BENJAMIN NARVEYHonest Music: The Case of the Seventeenth-Century French Lute If morality can be understood to be a code of social conduct, then French lute music of the Grand Sicle presents us with an intriguing example of how music can function as a moral agent. In the wake of the civil war known as the Fronde (1648-53), the traditional French nobility amongst whom the lute counted as a favourite instrumentre-invented itself in a bid to preserve its challenged status through a code of social forms and manners they called honntet: literally honesty. This term at once evokes morality, but as we shall see, it is also intricately linked to contemporary discourses of power, representation, rhetoric, and artistic taste (bon got). In fact, many of the musical forms found in French lute music, and many of the luthistes playing techniques and compositional strategies, are directly linked to this moral code of honest courtly conductto the point that much of the lute repertoire proves uncommonly dependent on honesty for its coherence as an art form. Where from the view of modern common practice tonality this repertoire often appears to lack the very components that render musical discourse intelligible (its harmonies often seem aimless, there is not always a continuous or defi nable melody, and rhythms can be displaced well beyond the bounds of normative hypermetricity), a reading of this repertoire through the lens of honntet shows how French lute music functioned as a classic moral performance, since it reproduced contemporary social conduct through artistic experience. Thus, the case of the French lute serves to highlight the interdependence between contemporary ethics and aesthetics, and thereby provides a useful example of how music can be linked to moral sensibilities. Benjamin Narvey is professional lutenist and a post-doctoral fellow at the Ecole Pratique des Hautes Etudes (Sorbonne) working on a critical edition of the lute music of Robert de Vise (c.1660-c.1732). In 2008, Benjamin was the winner of the Goldberg Musical Essay Competition. -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [2]www.luthiste.com -- References 1. http://music.sas.ac.uk/imr-events/imr-conferences-colloquia-performance-events/music-and-morality.html 2. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Music Morality
Sorry, let's try sending that abstract again in a legible format! Hope to see some of you there. If any problems persist in reading this, just click on programme on the link I gave earlier. As ever, Benjamin BENJAMIN NARVEYHonest Music: The Case of the Seventeenth-Century French Lute If morality can be understood to be a code of social conduct, then French lute music of the Grand Siecle presents us with an intriguing example of how music can function as a moral agent. In the wake of the civil war known as the Fronde (1648-53), the traditional French nobility amongst whom the lute counted as a favourite instrument re-invented itself in a bid to preserve its challenged status through a code of social forms and manners they called honnetete: literally honesty. This term at once evokes morality, but as we shall see, it is also intricately linked to contemporary discourses of power, representation, rhetoric, and artistic taste (bon gout). In fact, many of the musical forms found in French lute music,and many of the luthistes playing techniques and compositional strategies, are directly linked to this moral code of honest courtly conduct to the point thatmuch of the lute repertoire proves uncommonly dependent on honesty for its coherence as an art form. Where from the view of modern common practice tonality this repertoire often appears to lack the very components that render musical discourse intelligible (its harmonies often seem aimless, there is not always a continuous or definable melody, and rhythms can be displaced well beyond the bounds of normative hypermetricity), a reading of this repertoire through the lens of honnetete shows how French lute music functioned as a classic moral performance, since it reproduced contemporary social conduct through artistic experience. Thus, the case of the French lute serves to highlight the interdependence between contemporary ethics and aesthetics, and thereby provides a useful example of how music can be linked to moral sensibilities. Benjamin Narvey is professional lutenist and a post-doctoral fellow at the Ecole Pratique des Hautes Etudes (Sorbonne) working on a critical edition of the lute music of Robert de Visee (c.1660-c.1732). In 2008, Benjamin was the winner of the Goldberg Musical Essay Competition. -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [1]www.luthiste.com -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Colascione
Thanks for passing this on, Dale! Best, Benjamin 2009/4/30 Dale Young [1]dyoung5...@wowway.com maybe this'll get out there. - Original Message - From: Dale Young [2]dyoung5...@wowway.com To: [3]lute-cs.dartmouth.edu [4]l...@cs.dartmouth.edu; baroque lutenet [5]baroque-l...@cs.dartmouth.edu; Benjamin Narvey [6]luthi...@gmail.com Sent: Thursday, April 30, 2009 3:25 PM Subject: [BAROQUE-LUTE] Re: Colascione Don't know if you got any secret links yet but here's one [7]http://musickshandmade.com/lute/facbooks/view/28 if you're looking for 6 string galant era music. - Original Message - From: Benjamin Narvey [8]luthi...@gmail.com To: [9]lute-cs.dartmouth.edu [10]l...@cs.dartmouth.edu; baroque lutenet [11]baroque-l...@cs.dartmouth.edu Sent: Wednesday, April 29, 2009 4:48 PM Subject: [BAROQUE-LUTE] Colascione Dear all, Does anyone on this list know of any tablature sources for colascione (colachon)? I suppose there are not many prints or manuscripts available for this instrument, but if anyone knows anything about this I'd be most grateful. I'm looking for a specimen sample. Perhaps it would be best to respond off list. All best wishes and thanks, Benjamin -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [1][12]www.luthiste.com -- References 1. [13]http://www.luthiste.com/ To get on or off this list see list information at [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [15]www.luthiste.com -- References 1. mailto:dyoung5...@wowway.com 2. mailto:dyoung5...@wowway.com 3. http://lute-cs.dartmouth.edu/ 4. mailto:l...@cs.dartmouth.edu 5. mailto:baroque-lute@cs.dartmouth.edu 6. mailto:luthi...@gmail.com 7. http://musickshandmade.com/lute/facbooks/view/28 8. mailto:luthi...@gmail.com 9. http://lute-cs.dartmouth.edu/ 10. mailto:l...@cs.dartmouth.edu 11. mailto:baroque-lute@cs.dartmouth.edu 12. http://www.luthiste.com/ 13. http://www.luthiste.com/ 14. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 15. http://www.luthiste.com/
[BAROQUE-LUTE] Re: Colascione
Dear Martyn, Arto, et al, Apologies for the confusion in my request; I had rather forgotten about the considerable fray that has been caused by the use of the terms Calichon, Gallichon etc. by 18th-century German writers for the six-course Mandora. While Mersenne translates colascione as colachon, the two instruments are obviously quite different and have always been so in my mind, the colascione being entirely unrelated to the German mandoras. Indeed, Martyn, I was speaking about the 2/3 stringed instrument depicted by Mersenne (but also by Kircher and Bonanni, I believe). I am aware of the piece entitled Colascione in Kapsberger's Libro Quarto of 1640, but while this (presumably) gives an idea of the style of the colascione, I wished to know if anyone on this list was aware of music that had been recorded in tablature for this instrument. From what I gather, the answer is no. Thanks again to members of this list. Best, Benjamin 2009/5/1 [1]hodgsonmar...@yahoo.co.uk Dear Benjamin, I presume you are speaking about the 2/3 stringed instrument which seems to have been developed in the late16th/early 17th C (as depicted for example in Mersenne) and continued being played in Italy well into the 18thC, rather than the late 17th/18thC 6 course instrument developed in Bohemia and also popular in German speaking speaking lands in the 18thC (C/Gallichon and variants). As regards the former I am unaware of any tablature for it. The closest there is, as I'm sure you're aware, is the piece entitled Colascione in, for example, Kapsberger's Libro Quarto of 1640 which, presumably, gives an idea of the style. MH. --- On Thu, 30/4/09, Dale Young [2]dyoung5...@wowway.com wrote: From: Dale Young [3]dyoung5...@wowway.com Subject: [BAROQUE-LUTE] Re: Colascione To: [4]lute-cs.dartmouth.edu [5]l...@cs.dartmouth.edu, baroque lutenet [6]baroque-l...@cs.dartmouth.edu, Benjamin Narvey [7]luthi...@gmail.com Date: Thursday, 30 April, 2009, 8:25 PM Don't know if you got any secret links yet but here's one [1][8]http://musickshandmade.com/lute/facbooks/view/28 if you're looking for 6 string galant era music. - Original Message - From: Benjamin Narvey [2][9]luthi...@gmail.com To: [10]lute-cs.dartmouth.edu [3][11]l...@cs.dartmouth.edu; baroque lutenet [4][12]baroque-l...@cs.dartmouth.edu Sent: Wednesday, April 29, 2009 4:48 PM Subject: [BAROQUE-LUTE] Colascione Dear all, Does anyone on this list know of any tablature sources for colascione (colachon)? I suppose there are not many prints or manuscripts available for this instrument, but if anyone knows anything about this I'd be most grateful. I'm looking for a specimen sample. Perhaps it would be best to respond off list. All best wishes and thanks, Benjamin -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [1][13]www.luthiste.com -- References 1. [5][14]http://www.luthiste.com/ To get on or off this list see list information at [6][15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [16]http://musickshandmade.com/lute/facbooks/view/28 2. [17]http://uk.mc263.mail.yahoo.com/mc/compose?to=luthi...@gmail.com 3. [18]http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.e du 4. [19]http://uk.mc263.mail.yahoo.com/mc/compose?to=baroque-l...@cs.dar tmouth.edu 5. [20]http://www.luthiste.com/ 6. [21]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [22]www.luthiste.com -- References 1. mailto:hodgsonmar...@yahoo.co.uk 2. mailto:dyoung5...@wowway.com 3. mailto:dyoung5...@wowway.com 4. http://lute-cs.dartmouth.edu/ 5. mailto:l...@cs.dartmouth.edu 6. mailto:baroque-lute@cs.dartmouth.edu 7. mailto:luthi...@gmail.com 8. http://musickshandmade.com/lute/facbooks/view/28 9. mailto:luthi...@gmail.com 10. http://lute-cs.dartmouth.edu/ 11. mailto:l...@cs.dartmouth.edu 12. mailto:baroque-lute@cs.dartmouth.edu 13. http://www.luthiste.com/ 14. http://www.luthiste.com/ 15. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 16. http://musickshandmade.com/lute/facbooks/view
[BAROQUE-LUTE] Colascione
Dear all, Does anyone on this list know of any tablature sources for colascione (colachon)? I suppose there are not many prints or manuscripts available for this instrument, but if anyone knows anything about this I'd be most grateful. I'm looking for a specimen sample. Perhaps it would be best to respond off list. All best wishes and thanks, Benjamin -- Dr Benjamin A. Narvey Post-doctorant/Post-Doctoral Fellow Ecole Pratique des Hautes Etudes (Sorbonne) IVe Section des Sciences historiques et philologiques t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: [1]www.luthiste.com -- References 1. http://www.luthiste.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Tomlinson Triple-extension 13c For Sale
Dear All, Please excuse this message. If anyone is interested, please respond off-list. All best, Benjamin For Sale: 13 course Widhalm with Jauck-style theorboed upper extension by Grant Tomlinson (made in 2000) Low pitch f ' or e'. String length: 73 cm / 89.8 cm / 102 cm. Stringing: 2 x 1, 6 x 2 / 3 x 2 / 2 x 2 The body and soundboard of this theorboed 13 course are based on the 1755 Widhalm, Nurnberg MIR903. The triple extension, neck and bridge are based on two instruments by Andreas Jauck (Yale and Brussels). Back of 11 Honduran rosewood ribs with holly spacers. Neck and top of bridge ebony-veneered. Fingerboard, points and edge binding of ebony. Extension of maple, dyed black. Decorative knot carved around the rose. The action is silky-smooth. Comes with Kingham case (grey) in good condition. Photos of this lute are available on Grant's website: [1]http://www.tomlinsonlutes.com/thirt2.html , No.3. Contact Benjamin Narvey for details: [2]luthi...@gmail.com -- References 1. http://www.tomlinsonlutes.com/thirt2.html 2. mailto:luthi...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: e' Lute
Dear Martin, Thanks for your message. So what would you recommend as an ideal length for gut? Perhaps 67cm? Would you go shorter than that? Best, Benjamin 2009/1/15 Martin Shepherd [1]mar...@luteshop.co.uk Dear Benjamin, Yes - but if you're using gut, don't think too much about the upper end of this range. It's not so much a question of breakage, but more the limits of how small a gut string can be made and what it sounds like. Bigger strings are nice... Best wishes, Martin. Benjamin Narvey wrote: Dear All, Just out of curiosity, what is the range of acceptable string lengths are for an e' lute? I imagine this would go from about 67-73cm. What say the denizens of this list? Best, Benjamin -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: [3]http://www.luthiste.com -- References 1. mailto:mar...@luteshop.co.uk 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 3. http://www.luthiste.com/
[BAROQUE-LUTE] Re: 11 or 13
Dear Mathias, It's interesting you say that. I'd be curious to know what you and other people on this list think about the differences (advantages/disadvantages) between rider lutes and swan neck lutes. I think the main difference between these lute types is one of balance vs. extra resonance. Very tough call. And transportation issues...I already have some problems with my 11c on certain flights. Does anyone have anything to add on this count? I think swan necks win hands down here... I actually began playing baroque lute on a borrowed 13c rider lute, but it has been so long since I've had one that I'm not sure I can still trust those initial impressions. Sadly, I've never had both types together to make a comparison. I must say that I like 11c lutes better than 13c lutes so far, but then this might be simply because these are the lutes that modern makers are getting right. All best, Benjamin I'm one of the culprits. Or I was, that is. My first BL just had to be a swan-neck, it couldn't be else. It was so impressive to impress other people ^_^ Today, I'd love to sell it and get me a normal 13c bass rider lute. Swan necks don't offer proper advantages IMHO. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Thirteen-course conundrum
Dear Martin, Thanks for your message. See below 2009/1/10 Martin Shepherd [1]mar...@luteshop.co.uk Dear All, Just a note on the strings issue: it is a mistake to assume that just because wound strings were available, lutenists used them. Some kind of wound string seems to have been available in the 1660s, yet they are not mentioned by Mace (1676) or Burwell (c.1670). They are also not seen in lute iconography - Mimmo has the details - though they are sometimes seen in paintings of bowed instruments. I don't think Mouton's strings (c.1690?) are wound, either. Even in the18th C, one has to ask why bother with the swan-neck design if you have wound strings? Totally agree. I think the only piece of physical evidence that a wound string of any sort was ever used on any kind of lute is the string fragment on the Mest lute, and even then there are the usual doubts about exactly how old that fragment is, what it was used for, etc. But presumably wound strings were being used for at least the 12th and 13th courses of the rider lutes? Although, perhaps these were loaded strings. At any rate, plain gut could not possibly achieve those pitches at such a short string length. Best wishes, Benjamin To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: [3]http://www.luthiste.com -- References 1. mailto:mar...@luteshop.co.uk 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 3. http://www.luthiste.com/
[BAROQUE-LUTE] Lute Bibliography
Dear all, I'm trying to complete a bibliography and have just realised that I lent out my LSA journal of 1997 to a friend who is away on hols.could someone just let me know the page numbers of the following article? (That is, if anyone is still at home in front of their computer!) It is: Per Kjetil Farstad, 'Life and Works of Ernst Gottlieb Baron', *Journal of the Lute Society of America*, Vol. XXXII (1999), *pp.???* Sorry to trouble the list with such a tiresome request. All good wishes, Benjamin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Mouton
Hello there, The correct date is 1617. The common error of 1626 is due to the portrait of Mouton by de Troy, painted in 1690, whose inscription claims - without proof - that Mouton is 64. Working backwards from this date, 1626 became accepted by scholars until the baptism record discussed below was found. Interestingly,this record in the BnF even tells us where Mouton was born in Paris, on the rue Trousse-vache. All best, Benjamin 2008/7/21 Jerzy Zak [EMAIL PROTECTED]: Dear List, What are the actual dates of life of Charles Mouton. On a recent (?) CD Franco Pavan writes: Charles Mouton was born in Paris in January 1617: he was actually baptised on the 21st of the month at Saint-Jacques de la Boucherie I cannot find any dates of the CD on the booklet downloaded from the http://www.elucevanlestelle.com/le-mouton-fabuleux/ The same is in the New Grove entry by David Ledbetter: Mouton, Charles (b Paris 1617; d before 1699). And this dates crop up on most internet sources. But the entry seems suprisingly short as for Mr Mouton, don't you think? But on the LSA Lute Festival 2008 Concerts page: http://www.cs.dartmouth.edu/~lsa/seminar/Cleveland2008/ LiddellCConcert.html Catherine Liddell gives: Charles Mouton (ca. 1626- after [!] 1699) French Wikipedia gives (vers 1626-1710), but of course, wikipedia... Other places: (ca. 1626 - ?), (c.1620 - c.1700), (1626-1710) ...waist of time looking for more happy variations on the subject. But it would be nice to see a word from an expert, if he is on the Liste now. Regards and thanks in advance, Jurek To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] baroque lute song accompaniments
Dear Collected Wisdom, I'm trying to get my hands on some songs with baroque lute accompaniment whose part is set in tablature; this is for a student of mine who cannot yet realise continuo. Can anyone point me in the right direction towards on-line resources? I'm not sure how much of this is out there... All good wishes, Benjamin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: baroque lute song accompaniments
Thought so - but could you tell me what there is? I think there is bizarrely some Telemann somewhere. 2008/6/8 Roman Turovsky [EMAIL PROTECTED]: There is almost nothing- http://polyhymnion.org/lieder/german.html RT From: Benjamin Narvey [EMAIL PROTECTED] I'm trying to get my hands on some songs with baroque lute accompaniment whose part is set in tablature; this is for a student of mine who cannot yet realise continuo. Can anyone point me in the right direction towards on-line resources? I'm not sure how much of this is out there... All good wishes, Benjamin -- Benjamin Narvey Luthiste: http://www.luthiste.com -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Bloody French
Thanks very much for the clarification, Andrea! Best, Benjamin 2008/5/6 Andrea Damiani [EMAIL PROTECTED]: Hello, some clarification from Italy: Gia molti anni sono che in Bologna, si faceuano liuti di bonta molto eccelenti o FOSSE [not sosie] l'esser fatti di forma lunga =E0 similitudine di pera, o fosse l'hauer le coste larghe, che l'vno fa dolce, e l'altro armonioso; fosse... fosse... in this case should not be meant in really dubitative sense, can be translated as BOTH... AND... L'UNO is referred to the pear shape, L'ALTRO to the large ribs: the former makes [the sound] sweet, the latter harmonious Best, Andrea Il giorno 02/mag/08, alle ore 00:33, Benjamin Narvey ha scritto: Dear Gernot and Duncan, Thank you both SO MUCH for your help; I was able to get the gist of it, but I really wanted to know more precisely what was being said - or rather, more precisely what it was that I was misunderstanding Unfortunately, in the LS journal translation by Stanley Buetens, this particular section is left out since it is somehow considered to be outside the scope of this article (p. 15). Aaaargh. You're brilliant!!! (; Big THANKS again! Best wishes, Benjamin 2008/5/1 Duncan Midwinter [EMAIL PROTECTED]: More or less this is what it says... It has already been a long time since excellent lutes were built in Bologna, and maybe for their long shape similar to a pear that make them sweet, maybe for their wide ribs? that make them harmonious, anyway, for their goodness they were kept in high esteem and in particular by the French that came to Bologna on purpose to bring them to France paying for them any amount they were asked. In this way now you can find a very small number of them. And also very big lutes were built and they were much valued in Bologna to play passiemezi, arias, other similar pieces in concert with other small lutes. Duncan Midwinter -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com -- -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] Re: Bloody French
Dear Gernot and Duncan, Thank you both SO MUCH for your help; I was able to get the gist of it, but I really wanted to know more precisely what was being said - or rather, more precisely what it was that I was misunderstanding Unfortunately, in the LS journal translation by Stanley Buetens, this particular section is left out since it is somehow considered to be outside the scope of this article (p. 15). Aaaargh. You're brilliant!!! (; Big THANKS again! Best wishes, Benjamin 2008/5/1 Duncan Midwinter [EMAIL PROTECTED]: More or less this is what it says... It has already been a long time since excellent lutes were built in Bologna, and maybe for their long shape similar to a pear that make them sweet, maybe for their wide ribs? that make them harmonious, anyway, for their goodness they were kept in high esteem and in particular by the French that came to Bologna on purpose to bring them to France paying for them any amount they were asked. In this way now you can find a very small number of them. And also very big lutes were built and they were much valued in Bologna to play passiemezi, arias, other similar pieces in concert with other small lutes. Duncan Midwinter -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] 11 course lutes Von Radolt
Dear Collected Wisdom, I've been reflecting recently on standard string lengths for 11-course lutes, and have been rather stumped at the incredibly little information we have at our disposal for the comprehension of such a vital repertoire. I am aware of iconographic studies done by Robert Lundberg that place the ideal 11c lute at around 67cm (re: proceedings of the Paris Colloquium), and most makers seem only to build such instruments with a vibrating string length of between 65cm-72cm. But how do they come to such conclusions? To my knowledge there are NO surviving 11 course instruments from France (well, there is a ruined Desmoulins that has been theorboed and later restored, but we can't tell very much from that), and not many from 18th-century Hapsburg lands. Does anyone on this list know anything I don't? How many eleven course lutes are there out there? And what kind of string lengths are they? (Incidentally, what kind of body types do they have?) I am aware of an eleven course lute by Wenger at 76cm - is this the longest 11c in existence? Which is the shortest? There are of course those enormous thirteen course lutes reaching even over 80cm, such as the instrument by Vendelinus Tieffenbruker that was later converted to a 13c Baroque lute by Thomas Edlinger (NMM 10,214); perhaps these lutes could give us an insight as to what 11c lutes would have been like at this late date? But vitally, what information do we have pertaining to France? And do we have enough information at all to be making judgements about any kind of standard about 11c lutes from any period/place in general? Aside from iconography and surviving instruments, I am aware of a set of trios for three 11c lutes of different sizes by Von Radolt, but I have never seen this music. Has anyone out there seen it? And if so, has anyone noticed any information, either in a preface or through an analysis of the parts, regarding what sizes these instruments this music may have been written for? This may give us an inkling(incidentally, I believe this is the only example I know of a baroque lute trio) Sorry this has been so digressive. Curious to hear from you. Best wishes, Benjamin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Goldberg Prize
My fellow luters, Thanks so much for all your good wishes that I've been receiving both on and off-list!!! I am very pleased to have been awarded this prize, and I am particularly hoping that the next issue of Goldberg will help pique curiosity in the lute repertoire in general, and that of the *Grand Si=E8cle* in particular. The fact that a generalist early music magazine chose my submission bodes well for us, in that it seems a kind of litmus test showing the interest given the lute from civilian non-pluckers. I hope that the fabulous production of the magazine combined with its wide distribution will serve to further this interest. Again, thanks so much for your kind messages!!! (; All good wishes, Benjamin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Dm continuo - Narvey article online
Hi Daniel, Actually, on the German theorbo there is no high f', so the top interval is still a 4th, like on other continuo instruments. Also, because the 'normal' baroque tuning that we have in our minds (a d f a d f) is symmetrical - that is to say that the tuning of the top three strings reproduces itself exactly on the lower 3 strings of the petit jeu once we allow for octave equivalence - we only have to learn the fingerings for scales, melodic fragments, chord shapes, etc. one time (and only on 3 strings!) and then just repeat this knowledge lower down - and all of this is directly transferable to the German theorbo. This is in contrast to the other giraffe instrument tunings (Archlute: g c f a d g, It. Th: a d g b e a), which are *not* symmetrical, and thus, even though they may have one less internal interval then the d-minor tuning, they require contending with a greater number of open pitches (or as I call them, conceptual starting bas(s)es - sorry for the pun), and this is actually what proves more difficult in the end: indeed, each of these has 5 different open pitches as opposed to the d-minor tuning's 3. So even if, as you say, there is one more interval to deal with in the d-minor tuning than in archlute or Italian theorbo tuning (the latter is actually much more complicated than this due to the re-entrance), d-minor is still much more straghtforward conceptually. That said, the *most* important point, and the main thrust of what Weiss, Baron, and myself are saying (if I may put myself in such illustrious company with tongue firmly placed in cheek), is that if you are a d-minor player anyway, you can just re-use the tuning you already know for continuo, and not have to totally relearn the fretboard - and this is obviously by far the simplest thing to do! Best, BN On 26/11/2007, Daniel Shoskes [EMAIL PROTECTED] wrote: Rob: I did go through a lot of the same questioning a year ago as I was having my first continuo instrument built for me. I did enjoy Benjamin's article and was tempted by the supposed ease at chord forms and harmony. 13 course Baroque lute is my primary solo instrument and there was a definite appeal. The primary argument against, made by more senior and experienced mentors, was that the interval of a third between the top two courses can make counterpoint and voice leading much more difficult. Thus, If you wanted to add a small melodic interjection between two phrases, you have to contend, in each key, with the fact that there are three different interval structures between strings, (fourth, minor third and major third). There are basically only two on a normal archlute, fourths and a major third, and your neither your bass lines nor your treble improvisations normally cross over this divide. Most stay pretty much to one side or the other. Thus when you hear an idea in your head you can often finger it intuitively. On baroque lute each moving bass line is fingered differently in each key as it crosses the strings. Other reason I settled against a d minor continuo instrument: much longer string length for a roman lute (80 cm or more) which is tough for my stubby hands. DS On Nov 24, 2007, at 12:32 PM, Rob wrote: Actually, I've been giving it a lot of thought as I have a theorbo on order from Malcolm Prior, being made right now, and due to be stuffed down my chimney by Santa. At first I just asked for an Italian-style instrument, and we settled on the Koch at 86cms. Then I started getting into the idea of the d minor tuning without the chanterelle. Malcolm and I looked at various supposed 'Deutsche Theorboes', and Andreas Schlegel and others mentioned the very same Koch we had chosen for our Italian model. I can't afford two theorboes (few people can) so it seems a good compromise would be the Koch, with which I could change tunings - obviously not in the same gig :-) It seems a period of experimentation lies ahead. I'm just wondering what your experience of Dm continuo is, pros and cons, what works, what doesn't. Do you play more melodic counterpoint to the melody, or arpeggios? Is there a different overall feel as compared to accompanying the same music on an Italian tuning? Do you play without a chanterelle? Etc, Rob www.rmguitar.info To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] Narvey article online/Dm continuo in Italy
Hi Rob, Regarding the point of d-minor continuo in Italy, there is in fact other documentation of its use apart from that of Weiss. There is a source *by an Italian*, the theorist and composer Pier Francesco Valentini (1586-1654), who discusses at some length d-minor continuo playing in his *Il leuto anatomizzato ... nelle quale si dimostrano 12 diversi ordini di sonare et intervolare trasportato nel leuto,* a very early source about d-minor continuo written in 1642, only a few years after the tuning came out in France itself. I didn't know about this source until after my article went to print, and this could have added a lot of juicy nuance. This source, written in Italian by an Italian for Italians, presumably attests to a school of d-minor playing there. Also, if this was already happening in 1642, how had this grown by Weiss's time a century later? This subject needs further exploration Does anyone on this list know anything more about this? BN On the other hand, I have not managed to talk myself into definit ely choosing the German tuning on my 86cms theorbo, but I have the possibility of experimenting. And while it is OK to use an Italian instrument for German baroque music (it was definitely used, as Tim Burris has pointed out), it is less plausible using a German instrument on anything other than German music. Benjamin argues that Weiss's presence in Italy indicates that at least one player was using dm tuning, however it is not certain that Weiss had developed his 'sans chanterelle' tuning whilst there. If not, what was Weiss playing when sitting in with Scarlatti's orchestral band? Had the swan-necked so-called theorbo come into existence during Weiss's Italian trip, 1710-14? Seems a bit early to me. I'm sure someone reading this will know when swans flew in to the scene? So, if Weiss still just had his lute, was he playing continuo at all, and if he was, did he use an Italian-tuned instrument? And did the problems he encountered lead to his development of the German Continuo Theorbo when he got back to Germany? Or did he create it when in Rome? So, there are a lot of questions, and, as I say, I have not yet convinced myself one way or another. But one thought keeps bugging me: Weiss was by far the greatest composer for the baroque lute, and we know that he spent a lot of his time as a continuo player. We also know the tuning he used. Baron states that it is the common tuning of theorboes in Germany. So how many of us are actually doing it? Probably fewer than half a dozen... Almost like playing Dowland on guitars... www.rmguitar.info To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] Re: Dm continuo - Narvey article online
EXCUSE THE CAPITAL LETTERS. On 26/11/2007, Mathias R=F6sel [EMAIL PROTECTED] wrote: Rob [EMAIL PROTECTED] schrieb: Interesting points, Daniel. I'll need to think it through. The comment about the interval of a (minor) third between the top two courses is true for a normal 13c lute, but not so for the German Continuo Theorbo, which does not have the chanterelle. Yet that doesn't matter any more once you've learned the fretboard by heart. I TOTALLY AGREE Plus, as Benjamin argues, you don't have the confusion of re-entrant tuning to complicate things. Which doesn't matter any more once you've learned the chitarrone fretboard by heart. I TOTALLY AGREE To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] Re: Fret placement
Hello all, Just out of curiosity, has anyone had experience in using un-equal temperaments in d-minor tuning? (Is this even possible with the fingerboard layout? I can't believe I haven't thought of this before.) I have of course tweaked frets in certain directions to better individual notes in ensemble playing, but this is hardly the same thing as full on meantones, etc. The problem is that there are white and black notes on all the frets, so unless you went tastini-crazy it would be very difficult to accomplish this, as far as I can see. Obviously many of these tunings don't come up so much in later baroque music, but others such as Werckmeister III certainly do. Experiences, anyone? I am not aware of any sources that discuss tuning baroque lutes in anything but equal Best BN On 18/10/2007, LGS-Europe [EMAIL PROTECTED] wrote: Dear Bruno For some theory followed by practical advice, basically written for me to understand what I am doing myself, see http://home.planet.nl/~d.v.ooijen/david/writings/meantone_f.html Sorry for the long link. Alternatively, go to www.davidvanooijen.nl, find Writings then find Meantone temperament for lute. Basically, trust your ears, not your ruler or your tuner. But, you do need to train your ears in alternative temperaments. David David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl - Original Message - From: Bruno Correia [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, October 18, 2007 4:25 AM Subject: [LUTE] Fret placement Dear all, Does anybody know a book or an article about fret placement on a lute? I'd like to have a better understanding about it instead of only following a table of temperaments. Any help will be appreciated. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Benjamin Narvey Luthiste: http://www.luthiste.com --
[BAROQUE-LUTE] Baroque Guitar after Voboam For Sale
Dear all, Just to let you know that my baroque guitar is now on the market. If interested, please reply off-list! All best, Benjamin Baroque Guitar (Stephen Barber/Sandy Harris 2000; Martin Haycock 2005), after Rene Voboam (Paris, 1641; Oxford, Ashmolean Hill Collection No. 40) Flat back of 5 ribs in yew, inlaid with triple stripes of ebony/holly/ebony; sides in ebony with 2 inlaid white (holly) panel lines; ebony-veneered neck, pegbox and fingerboard; ebony pegs; ebony half-edging to belly; extraordinarily delicate parchment rosette in Star-of-David design in 5 tiers. The neck is inlaid with a wonderful leaf-trail centre. String length: 67cm, Pitch: e'. A very ornate and wonderful instrument. The instrument obtained a brand new soundboard when it was renewed by Martin Haycock in 2005. Asking price is £3400 or best offer - this is the price of the unornamented instrument without case (see http://www.lutesandguitars.co.uk/htm/cat11.htm. , No. 13), and unfortunately, I'll need to recover the costs of the new soundboard. Price includes a perfect condition kingham case (green). Guitar being sold due to desperate need of another instrument! Pictures available. Contact: Benjamin Narvey tel: (++33/(0) 1 44 27 03 44 email: [EMAIL PROTECTED] OR [EMAIL PROTECTED] To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
