[BAROQUE-LUTE] Re: Johann Melchior Pichler (1695-?1780?)
It took me a while to realize that there is a download link on the page What an article, I'm deeply impressed! The amount and depth of archival studies involved is totally crazy! Now, who wants to do a complete edition of Johann Melchior Pichler's lute works? The time is ripe :-) Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Markus Lutz Gesendet: Mittwoch, 14. März 2018 08:56 An: Barocklautenliste; Tim Crawford Betreff: [BAROQUE-LUTE] Johann Melchior Pichler (1695-?1780?) Dear friends, yesterday the substantial article of Johannes Agustsson on Joseph Johann Adam von Liechtenstein was published. This noble man was not only a patron of Vivaldi, but he also employed a composer and musician, whose works are very widely known also in the lute world: Johann Melchior Pichler (1695-1780?). He most probably is 'our' Pichler. Also Agustsson mentions Johann Georg Orschler (Orsler), of whom we have a work with lute in Haslemere: http://www.cini.it/en/publications/studi-vivaldiani-17 (in English). Herzliche Grüße Markus -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] WG: Professorship in Cologne
https://www.hfmt-koeln.de/nc/en/aktuelles/stellenangebote.html BTW, this Umlaut-problem seems rather new on my machine, I don't understand this... So, it's Junghaenel... -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stephan Olbertz Gesendet: Donnerstag, 7. Dezember 2017 11:53 An: l...@cs.dartmouth.edu Betreff: [LUTE] Professorship in Cologne Hi all, this is to inform you that the Cologne Musikhochschule is looking for a new lute professor (50 %) in succession to Konrad Junghänel. Application ends on January the 15. Please spread the word to your worldclass friends... Best regards Stephan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] WG: Professorship in Cologne
Von: Stephan Olbertz [mailto:stephan.olbe...@web.de] Gesendet: Donnerstag, 7. Dezember 2017 11:53 An: 'l...@cs.dartmouth.edu' Betreff: Professorship in Cologne Hi all, this is to inform you that the Cologne Musikhochschule is looking for a new lute professor (50 %) in succession to Konrad Junghänel. Application ends on January the 15. Please spread the word to your worldclass friends... Best regards Stephan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Demi-filès
Dear all, does anyone know a supplier of half wound gut strings? Not the gimped or luxline typ of strings, as they seem to have less metal than real demi-filés. What I need is something in between luxlines and closewounds for the deepest bass of a baroque lute with bass rider. (Kürschner wonât make them.) Best regards Stephan PS: Sorry for the cross-posting. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] New edition for baroque lute and strings
Dear all, sorry for the following shameless plug: I started to publish editions for lute and guitar, beginning with arrangements of BWV 1020 and 1031 for violin, baroque lute and violoncello. The edition is comprehensive and scholarly made, and it accompanies an article published in the latest Bach Jahrbuch (Stephan Olbertz: Verborgene Trios mit obligater Laute? - Zu Fragen der Fassungsgeschichte und Autorschaft der Sonaten Es-Dur und g-Moll, BWV 1031 und 1020, Bach-Jahrbuch 99 (2013), pp. 261-277). To cut a long story short: The known versions for flute and harpsichord are nowadays doubted to be composed by any member of the Bach-family. It is quite probable that they were arranged from former lute-trio versions and I suggest Carl Heinrich Graun as the original composer. Because of the extensive and detailed commentary this edition is in German only! Sorry... Please visit [1]http://lute-and-guitar.com for details. Best wishes Stephan -- References 1. http://lute-and-guitar.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: New edition for baroque lute and strings
Dear Markus, how nice to hear, thank you! Please allow me a word of caution to others: the edition is reconstructed for violin, for playing with a flute quite some changes are necessary. We had a wonderful taste of the strings-version with Earl Christy and his friends in Augsburg during the German lute festival. I hope they will record it some day... Best wishes Stephan -Ursprüngliche Nachricht- Von: Markus Lutz [mailto:mar...@gmlutz.de] Gesendet: Dienstag, 9. Dezember 2014 09:54 An: Stephan Olbertz; baroque-lute@cs.dartmouth.edu Betreff: Re: [BAROQUE-LUTE] New edition for baroque lute and strings Dear Stephan, thank you for your really very nice edition. That this was a lute trio, seems very probable to me. At least it sounds very good in your reconstruction/arrangement, even if played by flute and lute only (I already tried the g minor suite together with flute). Best regards Markus Am 09.12.2014 um 09:16 schrieb Stephan Olbertz: Dear all, sorry for the following shameless plug: I started to publish editions for lute and guitar, beginning with arrangements of BWV 1020 and 1031 for violin, baroque lute and violoncello. The edition is comprehensive and scholarly made, and it accompanies an article published in the latest Bach Jahrbuch (Stephan Olbertz: Verborgene Trios mit obligater Laute? - Zu Fragen der Fassungsgeschichte und Autorschaft der Sonaten Es-Dur und g-Moll, BWV 1031 und 1020, Bach-Jahrbuch 99 (2013), pp. 261-277). To cut a long story short: The known versions for flute and harpsichord are nowadays doubted to be composed by any member of the Bach-family. It is quite probable that they were arranged from former lute-trio versions and I suggest Carl Heinrich Graun as the original composer. Because of the extensive and detailed commentary this edition is in German only! Sorry... Please visit [1]http://lute-and-guitar.com for details. Best wishes Stephan -- References 1. http://lute-and-guitar.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de
[BAROQUE-LUTE] Re: Kohlhase-notation
Dear Arthur, ah, yes, Schrade! Somehow I had the idea that he notated in only one stave. Kohlhase doesn`t mention him as far as I see. I think I heard it beeing called musicological notation because it was invented and is mostly used by musicologists (at least for performance), and to avoid the evil keyboard notation. By the way, I think we don`t have such an elegant term like grand staff in German. Thanks and best regards Stephan Am 12.05.2013, 20:41 Uhr, schrieb Arthur Ness arthurjn...@verizon.net: Dear Stephan, I wouldn't necessarily call the Kohlhase notation musicological, since it is simply a way of notating lute music on a continuous staff, rather than one with the conventional break between the hands for keyboard, marimba and harp music. Often erroneously called keyboard notation when used for lute music, this designation can result in misunderstanding about the nature and use of transcriptions of tablature into pitch notation. And no one calls notation for marimba and harp, keyboard notation. Why should lute music in pitch notationm be called keyboard? It's a misnomer coined by guitarist. Preferable is the conventional term grand staff notation. Too frequently the term keyboard lute notation suggests to the uninitiated that the music has been arranged (adapted) for a keyboard instrument, e.g., a Boesendorfer, whereas the grand staff has long been the standard pitch notation for lute. And some pioneer 20th century lutenists seemed to have played only from pitc! h notation, e.g., Gerwig. Two world-touring lutenists told me that , when working up a piece for a recital or CD, they always consult a transcription, or if none is available, make their own. In recent years Thomas Kohlhase seems to be the earliest to use the continuous staff, with an imaginary line for middle C. That is, 5 (bass clef) lines +5 (treble clef) +1 (middle C with ledgerlines) = eleven lines and ten spaces:: g __ c ____ __ __ ___ F __ The reasoning behind this staff layout is that regular grand staff for keyboard separates the left and right hands, whereas with lute there is no separation, and the continuous clef better reflects the shape of the music. A leap of a ninth, F to G looks the same as a ninth, e to ff. I long thought our Doug Smith was the first to use the continuous clef, using it for examples in an article on Weiss in Early Music (1980) and then in his Weiss edition (1983 ff.), but Kohlhase was earlier in the New Bach Edition (1977, rev.1982), and[perhaps still earlier in his dissertation on Bach's lute music of 1972. But still earlier Schrade used the continuous staff in his edition of the works of Luis Milan (1928). But his bizarre edition is so unique it deserves a separate name, Schrade Method. - Original Message - From: Stephan Olbertz stephan.olbe...@web.de To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu Sent: Saturday, May 11, 2013 11:20 AM Subject: [BAROQUE-LUTE] Kohlhase-notation Dear all, do we have an earlier source for the so-called musicological notation of lute music (with a space of one ledger line between the staves) than Kohlhase's NBA-edition? From his foreword it seems that he invented it. Best regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[BAROQUE-LUTE] Kohlhase-notation
Dear all, do we have an earlier source for the so-called musicological notation of lute music (with a space of one ledger line between the staves) than Kohlhase's NBA-edition? From his foreword it seems that he invented it. Best regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Hasenfuss baroque lute for sale or exchange
Dear all, I want to switch over to a theorboed model, therefore I sell--or exchange--my 13-course baroque lute by Hendrik Hasenfuss, bass rider model after J. C. Hoffmann, deep body out of birdseye-maple, strong sound Well-kept instrument of the 90s in a neat Kingham case, new ones sell for over 5000 Euro. If you are interested, please answer privately. -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Fasch concerto
Chiesa made an edition in staff notation, the facsimile can be viewed online at the pages of the SLUB Dresden. Somewhere there... Regards Stephan Am 16.08.2012, 17:58 Uhr, schrieb Roland Hayes rha...@legalaidbuffalo.org: On the radio I heard a very nice performance of a lute concerto by Fasch (?) described as a Dresden composer. Is this concerto in print anywhere, or facsimile? No mention of the lutenist, BTW. r -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[BAROQUE-LUTE] Re: Fasch concerto
I have filed this entry: FASCH, JOHANN FRIEDRICH: Concerto (Umschlag: Liuto, Violini, Viola, Basso), FWV L: D 2, D-Dl Mus. 2423-V-1, digitalisiert: http://digital.slub-dresden.de/ppn313537283 Regards Stephan Am 16.08.2012, 18:39 Uhr, schrieb Roland Hayes rha...@legalaidbuffalo.org: Thank you. I have searched Petrucci under fasch unsuccessfully. Lots of music, but no lute concerto or concerto with lute in the score. Do you have a specific piece # I could use to keep searching? Best, r -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Stephan Olbertz Sent: Thursday, August 16, 2012 12:16 PM To: baroque-lute@cs.dartmouth.edu Subject: [BAROQUE-LUTE] Re: Fasch concerto Chiesa made an edition in staff notation, the facsimile can be viewed online at the pages of the SLUB Dresden. Somewhere there... Regards Stephan Am 16.08.2012, 17:58 Uhr, schrieb Roland Hayes rha...@legalaidbuffalo.org: On the radio I heard a very nice performance of a lute concerto by Fasch (?) described as a Dresden composer. Is this concerto in print anywhere, or facsimile? No mention of the lutenist, BTW. r -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz -- Viele Grüße Best regards Stephan Olbertz
[BAROQUE-LUTE] Conti
Dear all, I need a scan of a page or two of Francesco Bartolomeo Contis Cantate con istrumenti. Would anyone who has it be so kind to send it to me? -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Rare Weiss engraving for sale
I own a copy of the well-known engraving of Silvius Leopold Weiss (with the subtitle Es soll nur Silvius die Laute spielen). It's engraved 1765 by Folin after a painting by Denner and measures ca. 10 x 15 cm. You all have seen it more than once, as it is the only surviving picture of Weiss. I don't know how many copies survived, but it can't be much. The copy is in a very good condition, except what seems to be the traces of some small sparks. This is definitely a rare and beautiful piece of lute history. I'm looking forward to your offers, If you are interested, please contact me off-list. -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] lute trio question
Dear all, it has been argued, that the lute trio (with violin/flute and bass) could have had a certain influence on the development of the piano trio. Does anyone know of an article on this subject? I could only find a statement by Tim Crawford in a liner note... Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: baerenreiter editions of Weiss
Dear Taco, in part II, which is vol 6 of the Weiss-edition and vol 12 of the Sonderreihe of Das Erbe Deutscher Musik you'll find: 13 Preludes, 11 Sonatas and 1 Menuet in Bb-major, f-minor, g-minor, c-minor and Eb-major, as well as the lute part of 7 incomplete ensemble sonatas or concertos and all parts of 1 concerto by Johann Sigismund Weiss. Then there is an appendix with some facsimiles of damaged music and 4 extra movements from other sources. Best regards Stephan Am 22.02.2012, 11:12 Uhr, schrieb Taco Walstra wals...@science.uva.nl: Does anybody have a copy of the Dresden manuscript book part II edited by barenreiter? Which works are exactly in this edition? I suppose the incomplete duets, and a few suites, but any exact data? Anybody information about status of band 15 singulaere Werke in anderen Quellen? It looks that bd 16 with uebertragung is published last year (604 pages for a lousy 695 euro). Taco -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ 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 Suite: fretting implications
Am 01.11.2011, 09:08 Uhr, schrieb Martyn Hodgson hodgsonmar...@yahoo.co.uk: 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.. I never understood how that would function on a baroque lute... Stephan MH -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Re: Weiss duets for lute and harpsichord
Am 22.11.2010, 13:49 Uhr, schrieb Nicolás Valencia nivalenl...@gmail.com: Dear all, According to Richard Stone's article, Weiss's Concerted Music: A Catalogue with Commentary, published in the latest LSA Journal, some duets by Weiss include alternate instrumentations, i.e. lute flute, lute lute or lute harpsichord, although only the lute part survived. I have Stones edition of the Weiss Lute Concerti here, and I guess the article draws on the introduction there? Unfortunately some of the SC numbers Stone gives for the Salzburg Lautencodex pieces don't match the numbers in the catalogues on the SLWeiss-site. For example, Stone has SC 27 + 57 for no. III, the catalogues 27 + 52. For no. V Stone has SC 68, aginst 69 in the web incipits. And so on. Can anyone shed some light on this? Best regards, Stephan BTW: Does anyone have the Salzburg MS (M III 25)? I can' find it indexed on the website of the library. I know Stone, Schroeder and Cardin's reconstructions for flute lute and lute lute, but I was wondering if there's any lute harpsichord recording of these duets. Any other composer wrote for both instruments? Regards, Nicolas -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Re: Weiss duets for lute and harpsichord
Dear Martyn, thank you for your answer, to which I fully agree. Actually I was only refering to Stone's overview on concerted works by Weiss, without assuming that they were duets. In his published reconstruction of the lute concerti (recent researches in the music of the baroque era, 136, a-r editions) he gives a list of 19 still extant chamber music works (appendix 1), where the Salzburg trios are included, but with a numbering that partly doesn't match other catalogues. (Appendix 2 and 3 list references to 24 to 70 works presumed lost, and five extant, but dubious works.) How many of the 50 pieces in Salzburg would you think are of the colla-parte-type? Regards, Stephan Am 28.11.2010, 10:49 Uhr, schrieb Martyn Hodgson hodgsonmar...@yahoo.co.uk: 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 Ms were originally composed as duets for two lutes and think it more likely they were originally solos (many have concordances with solo sources) with string treble and bass added (by Weiss or others?) as was the fashion at the time. Many of the pieces by other composers may have been conceived as concerted works in the first place since the lute parts often have passages of continuo type texture. I don't have the LSA journal you mention so can't comment on the numbering. Incidentally I think we need to be careful in assuming that any part labelled 'Basso' in this repertoire implies a keyboard instrument as well as a melodic bass (such as bass violin, cello etc): I think it more likely that no keyboard was expected (compare with extant trios for lute, violin basso) MH --- On Sun, 28/11/10, Stephan Olbertz stephan.olbe...@web.de wrote: From: Stephan Olbertz stephan.olbe...@web.de Subject: [BAROQUE-LUTE] Re: Weiss duets for lute and harpsichord To: baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu Date: Sunday, 28 November, 2010, 9:29 Am 22.11.2010, 13:49 Uhr, schrieb Nicolas Valencia [1]nivalenl...@gmail.com: Dear all, According to Richard Stone's article, Weiss's Concerted Music: A Catalogue with Commentary, published in the latest LSA Journal, some duets by Weiss include alternate instrumentations, i.e. lute flute, lute lute or lute harpsichord, although only the lute part survived. I have Stones edition of the Weiss Lute Concerti here, and I guess the article draws on the introduction there? Unfortunately some of the SC numbers Stone gives for the Salzburg Lautencodex pieces don't match the numbers in the catalogues on the SLWeiss-site. For example, Stone has SC 27 + 57 for no. III, the catalogues 27 + 52. For no. V Stone has SC 68, aginst 69 in the web incipits. And so on. Can anyone shed some light on this? Best regards, Stephan BTW: Does anyone have the Salzburg MS (M III 25)? I can' find it indexed on the website of the library. I know Stone, Schroeder and Cardin's reconstructions for flute lute and lute lute, but I was wondering if there's any lute harpsichord recording of these duets. Any other composer wrote for both instruments? Regards, Nicolas -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --Erstellt mit Operas revolutionaerem E-Mail-Modul: [3]http://www.opera.com/mail/ -- References 1. http://de.mc263.mail.yahoo.com/mc/compose?to=nivalenl...@gmail.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. http://www.opera.com/mail/ -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Re: Weiss duets for lute and harpsichord
Ah, yes, I see. Thanks for the information, Markus. And thanks for a great ressource! Regards, Stephan Am 28.11.2010, 19:11 Uhr, schrieb Markus Lutz mar...@gmlutz.de: Hello Stephan, unfortunately the edition of the Weiss complete works still hadn't been finished at the time Richard Stone published his reconstruction. So some of the numbers were preliminary and had to be changed due to other editorial choices. On the Weiss site you find the current numbering of all works that will be published in the complete works of S.L.Weiss. I try to keep it up to date as Tim Crawford and Dieter Kirsch inform me. I think that the numbers now are in a fixed state, as the last volumes of the edition should be published in a little while: http://www.slweiss.de/index.php?id=2type=sc-listlang=eng Best regards Markus Am 28.11.2010 10:29, schrieb Stephan Olbertz: Am 22.11.2010, 13:49 Uhr, schrieb Nicolás Valencia nivalenl...@gmail.com: I have Stones edition of the Weiss Lute Concerti here, and I guess the article draws on the introduction there? Unfortunately some of the SC numbers Stone gives for the Salzburg Lautencodex pieces don't match the numbers in the catalogues on the SLWeiss-site. For example, Stone has SC 27 + 57 for no. III, the catalogues 27 + 52. For no. V Stone has SC 68, aginst 69 in the web incipits. And so on. Can anyone shed some light on this? Best regards, Stephan BTW: Does anyone have the Salzburg MS (M III 25)? I can' find it indexed on the website of the library. I know Stone, Schroeder and Cardin's reconstructions for flute lute and lute lute, but I was wondering if there's any lute harpsichord recording of these duets. Any other composer wrote for both instruments? Regards, Nicolas -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Re: Weiss duets for lute and harpsichord
In my oppinion they are misinterpreted alternative double-parts for flute or violin and cello. The information is added by a later hand to the MS, very pale for SC 54 and 59, almost invisible for SC 56, at least in my copy of Dresden (Erbe deutscher Musik). You find that also in Lauffensteiner and Hagen (second lute or instruments). But, on the other hand they could of course have been performed on a cembalo. There's a work for lute and cembalo in the Rosani LB, by Falckenhagen, and (again) incomplete. It was advertised by Breitkopf, but I don't know what else. Oh, and there's the famous picture of C.H. Graun on (11c-)lute and his wife on cembalo... Regards, Stephan Am 22.11.2010, 13:49 Uhr, schrieb Nicolás Valencia nivalenl...@gmail.com: Dear all, According to Richard Stone's article, Weiss's Concerted Music: A Catalogue with Commentary, published in the latest LSA Journal, some duets by Weiss include alternate instrumentations, i.e. lute flute, lute lute or lute harpsichord, although only the lute part survived. I know Stone, Schroeder and Cardin's reconstructions for flute lute and lute lute, but I was wondering if there's any lute harpsichord recording of these duets. Any other composer wrote for both instruments? Regards, Nicolas -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Re: Wenzel von Radolt
Am 08.11.2010, 15:05 Uhr, schrieb Christopher Wilke chriswi...@yahoo.com: It was, however, also common practice for the bowed strings to use mutes when playing with lutes Interesting. I only know the Hagen Duet for Violin and Lute with obligato mute, what else do we have? Regards, Stephan and I think this recording would have benefited from doing so. Gunar Letzbor mentions that playing with lutes was a new experience for the group, so my hats off to them for tackling this music in the first place and doing such a good job of it. Chris The liner notes reveal some interesting facts... apparently, the parts were scattered in various areas, making great difficulty in assembling the concertos. All parts were then together, with the exception of the first violin part in the concertos. One of the lutenists in the project, Hubert Hoffman, started writing the missing violin parts, and after near completion of the work, somebody found it the missing part!! Yesterday I had a conversation with an old friend, Doug Towne. In discussing this, he laughed, stating, They should have asked me... I've had it since the late 70's. The lutenists involved in the recording are Hubert Hoffman, Sven Schwannberger, and Klaus Kob. I have never heard of any of these performers, but they certainly performed these works well. ed At 08:41 AM 11/7/2010, Christopher Wilke wrote: Bernd, Thanks for the link. And thanks very much to Martyn for writing the article. Very interesting and informative stuff. I wonder why Radolt has received so little attention. On one point, though, I can't agree with Martyn: von Radolt's music is not of negligible musical worth. I won't argue that it is the deepest stuff, but it is pleasant to listen to and there are some surprises to keep you interested. Overall, I would recommend the recording that Ed mentioned by Ars Antiqua Austria although 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 that is the small lute must at all times be set strongly and tripled in volume in relation to the other parts. (I suppose they were after an overall composite sound.) Actually, I know very little about this recording. I bought it on iTunes about a year ago and there is no booklet (shame on them!). I could hear that there was more than one lute on there, but the performers' names are not even listed online. How hard is it to include a digital booklet, people? Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Sun, 11/7/10, Bernd Haegemann b...@symbol4.de wrote: From: Bernd Haegemann b...@symbol4.de Subject: [BAROQUE-LUTE] Re: Wenzel von Radolt To: baroque-lute@cs.dartmouth.edu, Edward Martin e...@gamutstrings.com, Martyn Hodgson hodgsonmar...@yahoo.co.uk Date: Sunday, November 7, 2010, 4:40 AM See my paper in FoMRHI Quarterly No 44 July 1986 C-737 : 'Von Radolt's instructions to lute players (Wien 1701)' This gives a translation of the instructions and a commentary on the lute sizes/pitches required. see http://www.fomrhi.org/uploads/bulletins/Fomrhi-044.pdf B To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 http://www.facebook.com/profile.php?id=1660298871ref=name http://www.myspace.com/edslute To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] non-lutenist composers
Dear all, which non-lutenist composers with original lute works do we have earlier than Kleinknecht, Pfeiffer and those guys from the Augsburg MS? Regards, Stephan -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: non-lutenist composers
Ok, Bach was obvious. I was a bit hasty :-) Kellner worked as an organist, but he must have played the lute also. R. Stone gives the following (in the introduction to his Weiss Concerti): The Vivaldi d-minor concerto with viola d'amore (found in in Dresden, didn't try that one on BL, anyone?), Heinichen's concerto with theorbo (which one?) and some opera arias with obligato lute by Hasse, Lotti and Ristori. Then we have Fasch's own BL transcription of a solo concerto. But - anything else? Stephan Am 28.10.2010, 12:07 Uhr, schrieb Roman Turovsky r.turov...@verizon.net: JSB. rt - Original Message - From: Stephan Olbertz stephan.olbe...@web.de To: baroque-lute@cs.dartmouth.edu Sent: Thursday, October 28, 2010 5:40 AM Subject: [BAROQUE-LUTE] non-lutenist composers Dear all, which non-lutenist composers with original lute works do we have earlier than Kleinknecht, Pfeiffer and those guys from the Augsburg MS? Regards, Stephan -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: New music to d-minor tuning?
http://www.modernlutemusic.com/ I don't remember if there is something for d-minor lute on this site, but interesting anyway. There is a german guy who writes beautiful resonant modern music with voice, maybe also solo. I once heard a CD but forgot the name. Maybe someone knows? Best regards, Stephan Am 09.10.2010, 01:04 Uhr, schrieb wikla wi...@cs.helsinki.fi: Dear d-minor gang, just for checking: is there any new music to the d-m-baroque tuning? This time I am not interested the anchronistic movement of composing new baroque music (really sorry Roman!), neither I am interested in the ethninic arrangements of (perhaps?) imagined folk songs (again, sorry Roman). So, is that wonderful instrument we adore (=tuning) going to survive without new and clever music composed? I guess not. Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Re: New music to d-minor tuning?
Yes, and this is the CD: http://www.cdbaby.com/cd/dsmg Best regards, Stephan Am 09.10.2010, 13:41 Uhr, schrieb Thomas Schall lauten...@lautenist.de: You surely mean Meinhardt Gerlach. best wishes Thomas Am 09.10.2010 09:03, schrieb Stephan Olbertz: http://www.modernlutemusic.com/ I don't remember if there is something for d-minor lute on this site, but interesting anyway. There is a german guy who writes beautiful resonant modern music with voice, maybe also solo. I once heard a CD but forgot the name. Maybe someone knows? Best regards, Stephan Am 09.10.2010, 01:04 Uhr, schrieb wikla wi...@cs.helsinki.fi: Dear d-minor gang, just for checking: is there any new music to the d-m-baroque tuning? This time I am not interested the anchronistic movement of composing new baroque music (really sorry Roman!), neither I am interested in the ethninic arrangements of (perhaps?) imagined folk songs (again, sorry Roman). So, is that wonderful instrument we adore (=tuning) going to survive without new and clever music composed? I guess not. Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[BAROQUE-LUTE] Weyrauch
Does anyone know what this exactly is? http://de.youtube.com/watch?v=u0dHmUORzEk I didn't know that we have a composition by Johann Christian Weyrauch. Meyer doesn't list anything. Hm... Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Raillich lute pics
Dear Taco, in the german version Wolfgang tells us that the instrument has been sold to Japan. And if you click the pictures you get larger ones that IMO clearly show plain gut strings. Regards, Stephan Am 25 Jul 2007 um 11:16 hat Taco Walstra geschrieben: difficult to recognize anything on these pictures because they are not close-up. Interesting to read that the back is from snakewood which is perhaps for tone quality a bit harsh. A pity that lothar doesn't give any information about the instrument like the origin (found on an attic?), where is the instrument now, kind of strings (wound or not), etc. Interesting instrument and also interesting case. taco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Bach
Thanks Sterling. That leads to the question: which editions are available and in which keys are the works there? I only know of the editions by Stefan Lundgren, Tree editions and Ut Orpheus (H. Smith, not complete yet), but I haven't seen them. By the way, I just found pics of the whole facsimile of 995: http://www.wimmercello.com/bachlute.html I'm rather new to the baroque lute and it took me quite some time to be able to play _anything_ by Bach, but now I can cope. I was surprised that some works work quite well, like 998 (I now use an Bb on the sixth course, much better than Ab!). But the low tessitura in 996 still causes me problems, and I would very much like to have it easier. A. Burguete said in an old article that those difficulties are normal for the generation of Reusner, but his opinions are generally a bit confusing/confused Regards, Stephan Am 13 Apr 2006 um 0:34 hat sterling price geschrieben: Hi-I play 997 in d-minor which works quite well. You do need 14 frets though. I play 996 in e-minor. I think most people just assume that it won't work in e-minor without even trying it. E-minor is a great key for the Baroque-lute. I use a version by Michihiko Okazawa that is very well done. I have tried other versions in different keys and e-minor works the best for me. Sterling Price --- [EMAIL PROTECTED] wrote: Dear all, I'm wondering which keys are favored these days for the Bach lute works, and which editions are commonly used. I played around with PFA in F, D and Eb the last two days and I think Eb is still the most reasonable key, although the Praeludium (and only the Praeludium...) is a piece of cake in D. Am I right in assuming that in Eb the sixth course is also lowered to Ab? (I seem to remember a historic example for this, but what is it?) 995 is very nice in Am, and 996 seems to be a nightmare in any other key than Gm (I haven't tried Fm yet, but it certainly looks horrible: http://www.utorpheus.com/misc/pagine_musica/sds004.pdf). I would very much appreciate your views and thoughts. Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com --
[BAROQUE-LUTE] Bach
Dear all, I'm wondering which keys are favored these days for the Bach lute works, and which editions are commonly used. I played around with PFA in F, D and Eb the last two days and I think Eb is still the most reasonable key, although the Praeludium (and only the Praeludium...) is a piece of cake in D. Am I right in assuming that in Eb the sixth course is also lowered to Ab? (I seem to remember a historic example for this, but what is it?) 995 is very nice in Am, and 996 seems to be a nightmare in any other key than Gm (I haven't tried Fm yet, but it certainly looks horrible: http://www.utorpheus.com/misc/pagine_musica/sds004.pdf). I would very much appreciate your views and thoughts. Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
