Thanks Roman. I am honored again. You are welcome at mine as well. You are an inspiration to us all.
                          Dale
----- Original Message ----- From: "Roman Turovsky" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; "BAROQUE-LUTE" <baroque-lute@cs.dartmouth.edu>; "Dale Young" <[EMAIL PROTECTED]>
Sent: Thursday, January 31, 2008 7:45 AM
Subject: Re: [BAROQUE-LUTE] Re: Chris Wilke > Straube


Dale,
You can eat at my table.
RT


----- Original Message ----- From: "Dale Young" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; "BAROQUE-LUTE" <baroque-lute@cs.dartmouth.edu>; "Roman Turovsky" <[EMAIL PROTECTED]>
Sent: Wednesday, January 30, 2008 6:49 PM
Subject: [BAROQUE-LUTE] Re: Chris Wilke > Straube


Chris
   Thank you for honoring me with a reply.
I have been immersed in this music for 3 decades now and learn new things about it constantly, still. Ron McFarlaine rubbed my nose in the mess I was making of galant ornamentation. He invoked in the Holy Father, C.P.E. Bach. I saw the light. The heavy , heavy light. Apogiaturas are to be held AT LEAST half the note value of the apogiaturee. The emphasis is to be on the dissonance. Sometimes it's cool not even to resolve it. I think these guys were ALL about the tension. Holding a grace note as long as possible and resolving only for a fraction of the value is so hard and yet so dramatic that it hurts. We must suffer a little more. Must.... As for the staccato chords with the einfall, search for the "dog bark" rather than the "choked singer" affekt. PETA is easier to deal with than the police and lawyers. An einfall or an an abzug (apogiaturas from below or above) can be played as accaciaturas if (and only if) the affekt is clear. I think that with a staccato sign, the affekt is clear. Bla bla bla I hate this academic crap.
   Yer my hero.
                    Dale
----- Original Message ----- From: <[EMAIL PROTECTED]> To: "Dale Young" <[EMAIL PROTECTED]>; "BAROQUE-LUTE" <baroque-lute@cs.dartmouth.edu>; "Roman Turovsky" <[EMAIL PROTECTED]>
Sent: Wednesday, January 30, 2008 12:33 PM
Subject: Re: [BAROQUE-LUTE] Re: Chris Wilke > Straube


Dale,

--- Dale Young <[EMAIL PROTECTED]> wrote:

They may well be the most difficult
lute pieces to play, well,
ever. (excepting transcriptions of the Mahler
symphonies, of course.)

I don't know about that.  Once you achieve general
mastery of the instrument (as opposed virtuosity) the
pieces aren't so hard.  (I'm still working very hard
and hope someday to actually acheive "general mastery"
of the instrument, by the way.)  Sure, there are the
awkward parts - I love the extreme impracticality of
the chord played on courses 5, 8 and 10 at the same
time, for example.  The sudden juxtapositions of
dynamic changes are loads of fun to make your lute do,
too.  The huge range and particular concentration on
melodies in the bass register make for lots of work
with the right hand.  The unusual style is difficult
at first, but this is just because as lute players
we're not used to the "rules" of this music.  Maybe
I'll eventually even understand it.

         Mr Wilke's performance is the first I have
heard and I found it
quite satisfying. His phrasing and voicing choices
were very appropriate. He
pulled off the technically challenging parts
cleanly, all the odd, high
position barre-chord leaps, double-stop trills, and
awkward turns .

Thanks!

    His interpretation of some of the ornaments and
articulations though
(multiple strikes on simple appogiaturas and
overlooking of some staccato
marks) gave me pause.

While, I'm not sure I agree with you, I can buy your
interpretation of the appogiatura vs. trill arguement.


As for the staccato marks, it is difficult to make
sense of them.  Everyone one of the chords marked with
a "staccato" also has an "appogiatura from below"
symbol.  Very, very difficult to play this truly
staccato without making it sound unmusical like
someone just choked the singer!  I believe that
Straube here really means "definately observe the
silence of the rest following my mark," i.e. no
ringing.  That's what I did anyway.

But, hell... in the words of
Bob Barto "It's hard."
And he played it better than I ever will.
  Keep the cadenza too! Bravo!!

Thanks again.  Its been fun stuff to play.


   Yeah Dan, better than old sequencemeister,Weiss.


Fightin' words.


                     Dale



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