[LUTE] Re: Unbalanced
For newcomers who look at the wikipedia article, Camilla de Rossi's Il Sacrifizio di Abramo is not a four-movement sinfonia but an oratorio with a four-movement sinfonia for strings and continuo (between the first and second parts) that has a prominent lute obbligato, which occasionally sounds like a lute concerto in the outer movements. It sounds not particularly difficult to play, so those players who are chummy with two violinists, a violist a cellist and another continuo player might want to give it a try. Rossi is a particularly tantalizing figure because almost nothing is known about her. A recording by Weser-Renaissance, directed by Manfred Cordes, with Thomas Ihlenfeldt on archlute and a cast of several, came out on CPO in 1996. It's fairly available, and Amazon.com helpfully points out that you can find references to it Women and Music: A History and The Norton/Grove Dictionary of Woman Composers. The 1990 [San Francisco] Bay Area Women's Philharmonic with JoAnn Falletta playing the lute-of-some-sort, mentioned by Eugene, doesn't seem to be available, unless you want to check it out of the Chicago Public Library. The soprano on that recording, Judith Nelson, did significant early music recording in London (with the likes of Hogwood, Rooley, Emma Kirkby and David Thomas) and elsewhere, but the BAWP is an all-purpose group that plays music from all periods. Indeed, if you're interested in samples of music by wopersons who may not be household names, check out its site at: www.rebeccaclarke.org/wophil On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote: There is de Rossi: http://en.wikipedia.org/wiki/Camilla_de_Rossi ...and a decent recording by JoAnn Falletta on lute (I'm not certain which incarnation of lute) of one of de Rossi's works for archlute and strings on: Bay Area Women's Philharmonic. 1990. Baroquen Treasures. Newport Classic, NCD 60102. I don't know how easy it would be to locate this recording any longer. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Unbalanced
On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote: The performer, Falletta, is now pretty famous as a guitarist and conductor; She now has a concerto competition named in her honor She's the music director of the Buffalo Philharmonic. How she gets the buffalos to play decently is a mystery. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Women composers of lute music
The way I remember it was not that Suzanne was a student of Diana Poulton. I was at the seminar that Donna Curry ran in Monterey California back in the 70s that both women taught at. One of the real high points was seeing the concert of them playing duets togehter. They both must have been about 70 years old at the time. Nancy Carlin Hi Suzanne, Suzanne Bloch (daughter of Ernest Bloch and student of Diana Poulton) composed some lute pieces. By the way, I would be interested to have a look at your pieces. Might that be possible? Best regards Franz __ Von: lute-...@cs.dartmouth.edu im Auftrag von Suzanne and Wayne Gesendet: Fr 11.09.2009 04:45 An: Lute list Betreff: [LUTE] Women composers of lute music For starters, lets assume Mark meant women composers of lute music, perhaps either living or historical. Occasionally, women performers (of various instruments) will take up the theme of music written by women. For example, at the last major Lute Fest in Cleveland last year, Elizabeth C. D. Brown gave a recital on lute and baroque guitar titled Women of Good Courage. This was music from lute books collected/owned by women rather than known to be composed by women. Here is a summary: Part 1: from the Elisabeth von Hessen Lutebook 3 sets of pieces played on lute, by various male composers or publishers, also anon. Part 2: Elisabeth-Claude Jacquet de la Guerre A suite of dance pieces starting with a prelude, by the named woman and arranged by the performer. Part 3: from the Princess Anne Manuscript 2 sets of dance pieces by Anon I remember this as a very well done recital. It seems to me that there are fewer examples of known women composers of lute music than perhaps is the case with later instruments and styles. Can any one else contribute more historical figures? And then there is the matter of living composers of lute music. I can't name many of these, although Ronn McFarlane's music is going to top my list. Also Allan Alexander writes some very nice stuff that I've liked. And then I will name myself as a composer as well. It started out as necessity, in writing music I could play when I was a beginner and easy music was hard to find (that was before so much stuff was on line.) But now I write music for myself and others for the sheer joy of creative expression. Any other living women composers of lute music? Suzanne -- Original message from gonzornumpl...@roadrunner.com: -- Hello Chris, Since you are actively engaged in scholarly pursuits regarding the lute,have you run into any decomposing lute composers who have been found to be women? I only have music by Madamoiselle Bocquet. Are there others that you can identify?There have got to be others. Or is it possible that women were behind all of the music, especially the best pieces, but didn't get any of the credit for cultural reasons? Mark Seifert To get on or off this list see list information at [1][1] http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web site - [3]www.nancycarlinassociates.com Administrator THE LUTE SOCIETY OF AMERICA web site - [4]http://LuteSocietyofAmerica.org -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 3. http://www.nancycarlinassociates.com/ 4. http://lutesocietyofamerica.org/
[LUTE] Re: Unbalanced
Howard, That is brilliantly funny! ed At 01:08 AM 9/11/2009, howard posner wrote: She's the music director of the Buffalo Philharmonic. How she gets the buffalos to play decently is a mystery. 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
[LUTE] Re: Women composers of lute music
On Fri, 2009-09-11 at 02:45 +, Suzanne and Wayne wrote: I could play when I was a beginner and easy music was hard to find (that was before so much stuff was on line.) But now I write music for myself and others for the sheer joy of creative expression. Any other living women composers of lute music? Suzanne The dutch lute society once published a piece for lute and voice by Tera de Marez Oyens. she was a dutch composer born 1932 and did in 1996. Even in her last year she married Marten Toonder, a famous cartoonist of the Olivier Bommel en Tom Poes series. The piece can apparently not purchased anymore. It's without lute tablature for 10 course ren. lute. I made a rough tab once. http://nl.wikipedia.org/wiki/Tera_de_Marez_Oyens To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Women composers of lute music
I was waiting to be dead to say that, as a dead composer is much more valuable, but as it occurred to me I might have some problems in writing mails to the list at that time, as an anteprima you can have a look at Alessia Aldobrandini music... Donatella http://web.tiscali.it/awebd - Original Message - From: Suzanne and Wayne angevin...@att.net To: Lute list lute@cs.dartmouth.edu Sent: Friday, September 11, 2009 4:45 AM Subject: [LUTE] Women composers of lute music For starters, lets assume Mark meant women composers of lute music, perhaps either living or historical. Occasionally, women performers (of various instruments) will take up the theme of music written by women. For example, at the last major Lute Fest in Cleveland last year, Elizabeth C. D. Brown gave a recital on lute and baroque guitar titled Women of Good Courage. This was music from lute books collected/owned by women rather than known to be composed by women. Here is a summary: Part 1: from the Elisabeth von Hessen Lutebook 3 sets of pieces played on lute, by various male composers or publishers, also anon. Part 2: Elisabeth-Claude Jacquet de la Guerre A suite of dance pieces starting with a prelude, by the named woman and arranged by the performer. Part 3: from the Princess Anne Manuscript 2 sets of dance pieces by Anon I remember this as a very well done recital. It seems to me that there are fewer examples of known women composers of lute music than perhaps is the case with later instruments and styles. Can any one else contribute more historical figures? And then there is the matter of living composers of lute music. I can't name many of these, although Ronn McFarlane's music is going to top my list. Also Allan Alexander writes some very nice stuff that I've liked. And then I will name myself as a composer as well. It started out as necessity, in writing music I could play when I was a beginner and easy music was hard to find (that was before so much stuff was on line.) But now I write music for myself and others for the sheer joy of creative expression. Any other living women composers of lute music? Suzanne -- Original message from gonzornumpl...@roadrunner.com: -- Hello Chris, Since you are actively engaged in scholarly pursuits regarding the lute,have you run into any decomposing lute composers who have been found to be women? I only have music by Madamoiselle Bocquet. Are there others that you can identify?There have got to be others. Or is it possible that women were behind all of the music, especially the best pieces, but didn't get any of the credit for cultural reasons? Mark Seifert To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Hi all, I would hope that in these days of equality and maybe political correctness this male dominated area of music-geeks has moved on enough to respect our female colleagues. If these examples are still prevalent or still being cited as normal behaviour, I'm sure even our male colleagues would be put off attending workshops. We should all show and earn respect. Playing the lute should be purely a demonstration of our artistic abilities and not hide the fact we have other interesting pursuits as well. Here in the UK a geek is called an anorak. A term derived from those with the hobby of train-spotting. They would wear bright orange anoraks (jackets) and travel all over the country just to stand by the tracks and note a particular engine number. Thankfully, our hobby is mostly home-based! Best Wishes Ron (UK) David Tayler wrote This is a real problem, and not a simple one. I'm not the expert here, obviously, and never will be, but I have some indirect experience. On the one hand, the lute model is the opposite of the viol model. Many women play the viol, and the organization of the societies for viol encourages that. The lute has failed miserably in this respect. On the other hand, I have received numerous complaints from women who went to lute workshops about the way they were treated. The most typical complaint is having four guys follow a female lute player around on breaks, being treated differently for no apparent reason other than gender, for example, being asked to play lute duets in preference to more experienced players, and so on. I have had people tell me they would not come back, nor go to ANY workshop as a result of their experiences. Of course, some of this goes on at any workshop. I don't really have a solution, except that the viols do this better, maybe we can learn from them. Part of it may be the emphasis on part music. Most of it must be a comfort level. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[no subject]
Hi all just for a laugh: there is an ad on Australian Telivision featuring a lute! the lutenist is singing a wooing song of love to an intercom at the front door to some flats. The add says something like 'do things the 21st century way - join our internet dating service'. I believe this is the lute's first appearence on an ad in Australia. lovely o __ Check out The Great Australian Pay Check [1]Take a peek at other people's pay and perks -- References 1. http://clk.atdmt.com/NMN/go/157639755/direct/01/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amarillis in your car
We also have an add on Belgian Flemish television for the Radio KLARA programme ESPRESSO featuring Floris de Rycker, lute playing sitting in the back of a car. Each week they give away such a private concert for a listener who is in the traffic jam each morning. http://radio.klara.be/radio/espresso.php for those who understand Dutch/ Flemish scroll to ELKE WERKDAG VAN 6 TOT 9 WIN EEN OCHTENDSPITSCONCERT! De zomer is nu definitief voorbij en u moet weer elke dag op weg. De baan op, de file in, de werkdag tegemoet. En soms is dat balen. Maar Espresso kan u misschien helpen door wat meer poëzie in uw ochtend te brengen. Met een beetje geluk en inspiratie wint u een wagenrecital om het woon-werk-leed te verzachten. Wat moet u doen? Luister elke woensdag naar het gesprek met de muzikant-in-aanbieding en laat ons telefoongewijs weten waarom u aanspraak maakt op een onderonsje met deze muzikant.. Is het traject dat u moet afleggen dan zó troosteloos? Moet u dagelijks drie files trotseren? Hebt u dringend nood aan kalmeringsmuziek voor uw roerige kinderen op de achterbank ? Hoe kan muziek soelaas bieden bij het woon-werkverkeer? De musicus laat zich vermurwen door al deze telefoonberichten, kiest er het grootste slachtoffer uit en zal deze dan s morgens vroeg met livemuziek, koffie en koeken vergezellen. Bel 00 32 (0)70/344033 het ensemble Encantar geeft het eerste van vier de Ochtendspitsconcerten. A good idea perhaps to get lutenists employed in other countries? Greet -Oorspronkelijk bericht- Van: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Namens Oskar De Mari Verzonden: vrijdag 11 september 2009 10:02 Aan: lute list Onderwerp: Hi all just for a laugh: there is an ad on Australian Telivision featuring a lute! the lutenist is singing a wooing song of love to an intercom at the front door to some flats. The add says something like 'do things the 21st century way - join our internet dating service'. I believe this is the lute's first appearence on an ad in Australia. lovely o __ Check out The Great Australian Pay Check [1]Take a peek at other people's pay and perks -- References 1. http://clk.atdmt.com/NMN/go/157639755/direct/01/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Amarillis in your car
2009/9/11 Greet Schamp greet.sch...@gmail.com: programme ESPRESSO featuring Floris de Rycker, lute playing sitting in the back of a car. Each week they give away such a private concert for a listener who is in the traffic jam each morning. Geweldig!!! David - used to study in the train once in while, when the Dutch trains still had those 'private' 6-person compartiments -- *** 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
[LUTE] Re: Imbalance
David, This reminds me of the Guitar Foundation of America convention I attended in 2007. I went to a lecture with Greg Goodheart about the GFA's initiative to get classical guitar programs in elementary and high schools. One of the big obstacles mentioned was the fact that most of the students interested in taking a guitar class are white males. Programs that cater to this un-diverse segment of the student body are a big no-no in the eyes of school administrations in the US. There were only about ten people in this particular lecture (it was 8:00am) and the discussion had been lively up among all of us until this point. Two of the attendees were women and Greg called upon them to give us males their insight into the situation. One of the gals started out, I dunno. We're just busy with stuff... and simply trailed off into an awkward silence. The other woman refused to say anything. Greg was forced to move on to other topics. After the lecture, I asked the silent woman - who happen to be my wife - why on earth she hadn't said anything since I know she has opinions on this matter. She said she felt intimidated in a room full of guys. But she told me that she feels that more girls don't get into guitar because at that age its so competitive with the young guys trying to outdo one another showing off how fast/loud they can play rather than how well they present the music. A predominantly male guitar class would present an ueber-competitive and unfriendly environment. She also said she's even had a number of her female teenage guitar students quit their private lessons as soon as they start dating. Many times this is because the boyfriend also plays guitar and the girls don't want to show up/compete with their beaus in musical realms. Sad. In light of this, I thought of how incredibly ironic the next GFA education lecture was. The topic was how to incorporate flamenco techniques into a (at this point, still hypothetical) classical guitar curriculum. Flamenco, the presenter told us, was ideally suited for a high school guitar course because it had dark associations and, since it involved a lot of fast scales and loud rasgueados, would create a competitive environment in which the kids would try to out-do one another because any teenagers interested in a guitar class will thrive on that sort of thing! Chris --- On Fri, 9/11/09, David Tayler vidan...@sbcglobal.net wrote: From: David Tayler vidan...@sbcglobal.net Subject: [LUTE] Re: Imbalance To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Date: Friday, September 11, 2009, 12:26 AM This is a real problem, and not a simple one. I'm not the expert here, obviously, and never will be, but I have some indirect experience. On the one hand, the lute model is the opposite of the viol model. Many women play the viol, and the organization of the societies for viol encourages that. The lute has failed miserably in this respect. On the other hand, I have received numerous complaints from women who went to lute workshops about the way they were treated. The most typical complaint is having four guys follow a female lute player around on breaks, being treated differently for no apparent reason other than gender, for example, being asked to play lute duets in preference to more experienced players, and so on. I have had people tell me they would not come back, nor go to ANY workshop as a result of their experiences. Of course, some of this goes on at any workshop. I don't really have a solution, except that the viols do this better, maybe we can learn from them. Part of it may be the emphasis on part music. Most of it must be a comfort level. dt --===AVGMAIL-570E506D=== Content-Type: text/plain; charset=us-ascii Of the last 100 individuals to post to this list, 95 were men. Is this representative of the wider lute world? Any ideas why? Peter -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --===AVGMAIL-570E506D=== Content-Type: multipart/alternative; boundaryAVGMAIL-690D73E9=== --===AVGMAIL-690D73E9=== Content-Type: text/plain; x-avg=cert; charset=us-ascii Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Description: AVG certification No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.5.409 / Virus Database: 270.13.89/2360 - Release Date: 09/10/09 1= 1:29:00 --===AVGMAIL-690D73E9===-- --===AVGMAIL-570E506D===-- 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
[LUTE] 10 cs lute case
Hi Alan, I don't know how you must travel to your luthier, and by which vehicles. Giving away the lute case as luggage can be problematic, especially when flying. Perhaps you can make a kind of solid chest for your lute, e.g. made from plywood, with padding of polyfoam, expanded styrene or something else, even paper. Of course the lute must be fixed inside by a strap or by the padding. You should make it water tight with adhesive tape from outside or with silicone rubber sealer from inside. If you can carry the lute with you, even a cardboard box with padding would do. You can protect it against rain by covering it with adhesive foil. In every case a carrying belt would be useful. If you must give it up as luggage when flying, the box should be very solid! Dana Curry has written about a do- it- yourself - lute case, apt for flying: [1]http://www.cs.dartmouth.edu/~lsa/publications/index.html see under Non-LSA Retro-Publications This lute case is made from aluminum! But perhaps you can pick up some ideas from there. Best wishes Karl -- References 1. http://www.cs.dartmouth.edu/~lsa/publications/index.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] New CD by Claire Antonini
Dear all, after her first solo album, published by the French lute society (Les Luthistes Français au XVIIéme siecle) in 2007, french lutenist Claire Antonini has just released her second solo CD with French music for baroque lute Manuscrit Vaudry de Saizenay which I just got from: http://classique.abeillemusique.com/CD/Classique/ASM004/3760098120048/AS-Musique/Claire-Antonini-luth/Manuscrit-Vaudry-de-Saizenay-(Musique-francaise-pour-luth-baroque)/cleart-32626.html and to which I listened with great pleasure. Claire Antonini is one of the best baroque lute players today. The CD contains 32 peaces from the well known Manuscrit Vaudry de Saizenay, exquisite music, played superbly and powerful on an 11-course lute of Paul Thomson. Henner -- Dr. Henner Kahlert In der Tasch 2a D 76227 Karlsruhe (Durlach) Tel. 0721-403353 Tel. Büro 0721-23984 Fax Büro 0721-20978 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Unbalanced
Funny. An orchestra in Buffalo must must not be able to play decently? Come here and check them out for yourself. Or you can swap grammy award winning cds with Joanne so she can check you out. BTW I loved your intabulation of the polka and fugue from Schwanda the Bagpiper. R. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of howard posner Sent: Friday, September 11, 2009 2:08 AM To: Lute list Subject: [LUTE] Re: Unbalanced On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote: The performer, Falletta, is now pretty famous as a guitarist and conductor; She now has a concerto competition named in her honor She's the music director of the Buffalo Philharmonic. How she gets the buffalos to play decently is a mystery. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 10 cs lute case
I actually have an aluminum case, which was built for me by a friend of Donna Curry. it works extremely well for air travel, but that was years ago. Now, if I bring the case, I fear I'd have to pay added fees for oversize. ed At 06:33 AM 9/11/2009, Karl-L. Eggert wrote: Hi Alan, I don't know how you must travel to your luthier, and by which vehicles. Giving away the lute case as luggage can be problematic, especially when flying. Perhaps you can make a kind of solid chest for your lute, e.g. made from plywood, with padding of polyfoam, expanded styrene or something else, even paper. Of course the lute must be fixed inside by a strap or by the padding. You should make it water tight with adhesive tape from outside or with silicone rubber sealer from inside. If you can carry the lute with you, even a cardboard box with padding would do. You can protect it against rain by covering it with adhesive foil. In every case a carrying belt would be useful. If you must give it up as luggage when flying, the box should be very solid! Dana Curry has written about a do- it- yourself - lute case, apt for flying: [1]http://www.cs.dartmouth.edu/~lsa/publications/index.html see under Non-LSA Retro-Publications This lute case is made from aluminum! But perhaps you can pick up some ideas from there. Best wishes Karl -- References 1. http://www.cs.dartmouth.edu/~lsa/publications/index.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.5.409 / Virus Database: 270.13.90/2361 - Release Date: 09/10/09 18:12:00 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
[LUTE] Re: 10 cs lute case
On Sep 11, 2009, at 7:26 AM, Edward Martin wrote: I actually have an aluminum case, which was built for me by a friend of Donna Curry. it works extremely well for air travel, but that was years ago. Building one of those things now might cost more than replacing the instrument. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New CD by Claire Antonini
Good point Henner, and on top of beign a first class player, Claire is quite an adorable lady... Best, Jean-Marie = == En réponse au message du 2009-09-11, 14:52:28 == Dear all, after her first solo album, published by the French lute society (Les Luthistes Français au XVIIéme siecle) in 2007, french lutenist Claire Antonini has just released her second solo CD with French music for baroque lute Manuscrit Vaudry de Saizenay which I just got from: http://classique.abeillemusique.com/CD/Classique/ASM004/3760098120048/AS-Musique/Claire-Antonini-luth/Manuscrit-Vaudry-de-Saizenay-(Musique-francaise-pour-luth-baroque)/cleart-32626.html and to which I listened with great pleasure. Claire Antonini is one of the best baroque lute players today. The CD contains 32 peaces from the well known Manuscrit Vaudry de Saizenay, exquisite music, played superbly and powerful on an 11-course lute of Paul Thomson. Henner -- Dr. Henner Kahlert In der Tasch 2a D 76227 Karlsruhe (Durlach) Tel. 0721-403353 Tel. Büro 0721-23984 Fax Büro 0721-20978 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. Aucun virus connu a ce jour par nos services n'a ete detecte. N ¶è®ß¶¬+-±ç¥Ëbú+«b¢vÛiÿü0ÁË j»f¢ëayÛ¿Á·?ë^iÙ¢ø§uìa¶i
[LUTE] Re: Unbalanced
On Sep 11, 2009, at 6:26 AM, Roland Hayes wrote: Funny. An orchestra in Buffalo must must not be able to play decently? He who laughs last doesn't get the joke... You might check out Sean Smith's post about the horn section. BTW I loved your intabulation of the polka and fugue from Schwanda the Bagpiper. R. Sorry, I don't get that one at all. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Unbalanced
To be clear, the recording to feature Falletta as lute soloist does NOT feature the whole oratorio, only the sinfonia from Il Sacrifizio di Abramo. Judith Nelson appears only on one cantata--Jonas (no lute evident in the cantata) by Elisabeth Jacquet de la Guerre--on the Baroquen Treasures disc. It's also interesting that the Wikipedia article neglects to mention Falletta at all. Not only is she lute soloist on the four-movement sinfonia, but she conducts the orchestra throughout the whole of the CD. Thanks for word of the CPO recording. I'm keen to try to track that one down. Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of howard posner Sent: Friday, September 11, 2009 2:06 AM To: Lute list Subject: [LUTE] Re: Unbalanced For newcomers who look at the wikipedia article, Camilla de Rossi's Il Sacrifizio di Abramo is not a four-movement sinfonia but an oratorio with a four-movement sinfonia for strings and continuo (between the first and second parts) that has a prominent lute obbligato, which occasionally sounds like a lute concerto in the outer movements. It sounds not particularly difficult to play, so those players who are chummy with two violinists, a violist a cellist and another continuo player might want to give it a try. Rossi is a particularly tantalizing figure because almost nothing is known about her. A recording by Weser-Renaissance, directed by Manfred Cordes, with Thomas Ihlenfeldt on archlute and a cast of several, came out on CPO in 1996. It's fairly available, and Amazon.com helpfully points out that you can find references to it Women and Music: A History and The Norton/Grove Dictionary of Woman Composers. The 1990 [San Francisco] Bay Area Women's Philharmonic with JoAnn Falletta playing the lute-of-some-sort, mentioned by Eugene, doesn't seem to be available, unless you want to check it out of the Chicago Public Library. The soprano on that recording, Judith Nelson, did significant early music recording in London (with the likes of Hogwood, Rooley, Emma Kirkby and David Thomas) and elsewhere, but the BAWP is an all-purpose group that plays music from all periods. Indeed, if you're interested in samples of music by wopersons who may not be household names, check out its site at: www.rebeccaclarke.org/wophil On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote: There is de Rossi: http://en.wikipedia.org/wiki/Camilla_de_Rossi ...and a decent recording by JoAnn Falletta on lute (I'm not certain which incarnation of lute) of one of de Rossi's works for archlute and strings on: Bay Area Women's Philharmonic. 1990. Baroquen Treasures. Newport Classic, NCD 60102. I don't know how easy it would be to locate this recording any longer. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] sarabande by Mesangeau played by A.Bailes
Hi, does somebody have a beautiful Sarabande by Mesangeau, I think it is in C Major? It is the one played with amazing speed by A. Bailes, as recorded in the 70's in an EMI Reflexes vinyl (track 5). Thank you in advance! Saludos from Barcelona, Manolo Laguillo To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] OT: lute lessons delay because of computer woes
Utterly OT. I had recorded another 18 LuteLessons, made them into uploadable videos and parked them on my USB HDD for the time being. Then the beast died. So, people waiting for more lessons, I know there are some pieces on a wish list or two out there, have some patience. I'll be on tour for the coming three weeks (my excuse to eat sashimi everyday ..) and will get back to work in October. David - 22 down, 48 to go PS: Any tips to bring a HDD back to life (krrr, krrr, krrr at start up) welcome off-list. 200Gb of data-loss ... I need a drink |-( -- *** 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
[LUTE] Re: OT: lute lessons delay because of computer woes
Your lute lessons are much apprecieated! Thanks for all your efforts to bring them to us thus far, and our sympathies for the loss of so much data. Have a great tour and I'll look forward to coming installments, whenever you have the time and energy to record and post them. (With luck I'll live long enough to get my thumb to stay 'under' my fingers; an incredibly recalcitrant appendage!). Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Women composers of lute music
Check the back issues of the Q; somewhere I recall a story by Suzanne herself about the days when she and Poulton were both, ostensibly, students of Arnold Dolmetsch. As she tells it, they both had rather more on the ball than Dolmetsch did, which I can certainly believe, and sometimes his instructions were musically/technically/string- technologically inferior to their ideas. On Sep 10, 2009, at 11:09 PM, Nancy Carlin wrote: The way I remember it was not that Suzanne was a student of Diana Poulton. I was at the seminar that Donna Curry ran in Monterey California back in the 70s that both women taught at. One of the real high points was seeing the concert of them playing duets togehter. They both must have been about 70 years old at the time. Nancy Carlin IIRC, Donna has a wonderful picture of her, Gordon and the Poulton and Bloch doing an chorus line. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Hi all, I would hope that in these days of equality and maybe political correctness this male dominated area of music-geeks has moved on enough to respect our female colleagues. It would be nice, but dont expect too much when hormones are involved and structured events limit time for socialization. The male mind is wired to take an interest in motion and female pulchritude. Some of us have learned to temper our interest to a socially acceptable level, others are less inhibited. The gamba is more of an ensemble instrument, much of the lute repetoire is for solo virtuos. It is not unreasonable for those simple facts to be reflected in the personas of persons choosing one instrument over another. Neither instrument has a huge following of players, gathering ensembles together is a challenge, further limiting the influence of ensemble dynamics. Perhaps if the venere lute ensemble proves a more popular concept we will find a gradual improvement in this issue. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Who here knows how to say male geek bias in Medieval Latin, Ancient Greek or Klingon? Status Quo. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Rob MacKillop luteplay...@googlemail.com 9/10/2009 9:00 AM It's no big deal. Some instruments attract different sexes. Flutes for instance attract girls more than boys, well at least in the schools I've had anything to do with over the years. Same with clarinet. I don't know why. Recorders and tin-whistles are inexpensive, relatively robust, and fairly easy to come by in the smaller sizes that are well suited to childrens hands. Flutes require a sensitive mouth, perhaps different than that required for brass or double reeds; I find all the winds possible but flute difficult enough that I dont play it as a result. Clarinet was easier to take up, but still gives me trouble fingering over the break; it also has far too many keys. I find racket/kortholt/duclian far easier to cope with than a clarinet in that regard. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Women composers of lute music
That was February 2003. Caroline Usher was the editor of that issue and it has notes remembering Suzanne by Donna Curry, Catherine Liddell, Garald Farnham, but one of the most interesting articles is a reprint of Saga of a 20th-Century Lute Pioneer which was originally published in the Journal of the LSA (1969), pp 37-43. There is also an interview with Susanne done by ELizabeth van Cleve. Perhaps we can get some of this up on the LSA web site, since I think we are all out of that issue of the Quarterly. Nancy Check the back issues of the Q; somewhere I recall a story by Suzanne herself about the days when she and Poulton were both, ostensibly, students of Arnold Dolmetsch. As she tells it, they both had rather more on the ball than Dolmetsch did, which I can certainly believe, and sometimes his instructions were musically/technically/string- technologically inferior to their ideas. On Sep 10, 2009, at 11:09 PM, Nancy Carlin wrote: The way I remember it was not that Suzanne was a student of Diana Poulton. I was at the seminar that Donna Curry ran in Monterey California back in the 70s that both women taught at. One of the real high points was seeing the concert of them playing duets togehter. They both must have been about 70 years old at the time. Nancy Carlin IIRC, Donna has a wonderful picture of her, Gordon and the Poulton and Bloch doing an chorus line. -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web site - [2]www.nancycarlinassociates.com Administrator THE LUTE SOCIETY OF AMERICA web site - [3]http://LuteSocietyofAmerica.org -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. http://www.nancycarlinassociates.com/ 3. http://lutesocietyofamerica.org/
[LUTE] Re: Imbalance
I'm not sure why this thread is taking place. Women are certainly not victims of any sort of discrimination. The statistics suggest otherwise, else, why such an imbalance? And that is why were are being introspective. I seriously doubt any of us would discriminate deliberatly, but there are subtle issues of competition which have been pointed out that discourage female interest during the years of puberty; and which may continue afterwards from habit. I began my interest in early music in two of its hotbeds, New York CIty and Boston, but now find myself far away, so my view of the issue is distorted. I have never found it convenient to attend any of the LSA meetings, so I have no knowledge of the events described here; but having graduated from an all-male high school, and gone on to several years at engineering schools with male to female enrollment ratios of 250:1 or worse, I have seen skewed socialization situations aplenty. I play Go as well as music (www.usgo.org), and there too, females are rare. Curiously, the two female members of the SUNYSB go club are both violin players in the orchestra; and both are fiercely and unabashedly competitive on the Go board, even when playing each other. I try to teach Go at every opportunity, and have found many females that take an interest, but very few that continue it (also true of the males, so its small sample statistics with poor followup). -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
When I first played the lute, back in the early '70s, I essentially played only ensemble music. My technique was quite limited, but I could do well with a single line of part music. And at the early music workshops I attended back then ( headed by a lutenist but for all instruments and voices ), only ensemble music was played by the attending lutenists - or lute songs. No solos. A memorable event for me was spending most of an evening reading through Guillaume Dufay trios with two other lutenists. Of course, the amount of music available as part music is almost limitless, much like the solo music. Ironically, I so enjoyed all this ensemble playing that I thought why limit myself to 'early' music and so took up the cello to play ensemle music (especially string quartets) of later eras. Learning this instrument proved to be a great challenge, and consequently my lute languished unplayed in my closet until recently. Ironically again, I began to think about all the solo music available for the lute - and to lose some motivation to play only etudes and scales when alone on my cello - so out came the lute. Now, I'm working hard at being able to play the solo literature, but would also like to find some players for ensemble music. So. . . . I think the lutenist has the best of both worlds; an almost infinite treasure chest of ensemble music (vocal or instrument non-specific) and also of solo music. And that's not even including continuo playing! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
nedma...@aol.com wrote: When I first played the lute, back in the early '70s, I essentially played only ensemble music. My technique was quite limited, but I could do well with a single line of part music. And at the early music workshops I attended back then ( headed by a lutenist but for all instruments and voices ), only ensemble music was played by the attending lutenists - or lute songs. No solos. A memorable event for me was spending most of an evening reading through Guillaume Dufay trios with two other lutenists. You all must have been really good sight readers! At a a very cursory glance this three-part music can look like something beginners could play after a few weeks but it only takes a few 'bars' (in modern editions) to find rhythmic felicities you almost never see in later music. I'd be happy enough sight reading any part in say, Gervaise at the very basic and moving on to a fair bit more difficult - from the following century - but I'm struggling with Dufay! Stuart Of course, the amount of music available as part music is almost limitless, much like the solo music. Ironically, I so enjoyed all this ensemble playing that I thought why limit myself to 'early' music and so took up the cello to play ensemle music (especially string quartets) of later eras. Learning this instrument proved to be a great challenge, and consequently my lute languished unplayed in my closet until recently. Ironically again, I began to think about all the solo music available for the lute - and to lose some motivation to play only etudes and scales when alone on my cello - so out came the lute. Now, I'm working hard at being able to play the solo literature, but would also like to find some players for ensemble music. So. . . . I think the lutenist has the best of both worlds; an almost infinite treasure chest of ensemble music (vocal or instrument non-specific) and also of solo music. And that's not even including continuo playing! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.5.409 / Virus Database: 270.13.91/2362 - Release Date: 09/11/09 05:50:00
[LUTE] French baroque, Lully and theorbo
Dear lutenists, especially the theorbo oriented of us, my tiny research -- which still continues! -- of the theorbo solo arrs made of Lully's songs and pieces, has really convinced me of the quality of the music by Lully, and _also_ the quality of the theorbo players of his time! Strongly recommended! And you'll find quite a lot of that stuff (and also the models by Lully) in my page http://www.cs.helsinki.fi/u/wikla/mus/Tiorba/deVisee/ -- there will be more soon... ;-) Yes, I do know this is an ad in vain..., no interest in the List -- as usual. On the other hand I do know also that one or another of our lute heroes will made a recording of the stuff I've digged from the obscurity... ;) Has happened earlier, too ... ;-)) All the best, Aro To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
I guess we were pretty good sight readers, Stuart. I had studed percussion since Jr. High and was playing drums professionally at the time. The other 'lutenists' were very good players - conservatory trained - on their respective modern instruments. So we all did well with the rhythmic complexities. Also, required at the workshop were daily classes in doing exercises from Hindemith's Elementary Training for Musicians. By the time you get into the third or fourth chapter of that, you're having fun with rhythms! As a drummer, it was actually the rhythmic 'interest' characteristic of much early music that initially attracted me. Another memorable evening was spent listening to recorder players trying to read through Christe Crosse from T. Morley's A Plain and Easy Introduction to Music (if I remember the title correctly). One would have to look to contemporary - or at least modern - musical works to find similar rhythmic complexity, I think. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: French baroque, Lully and theorbo
Congratulations on your research, Aro. I am impressed that - given the challenges of the Renaissance lute - there are players that master that and also go on to master (or at least play very well) the Baroque lute and/or the Theorbo, and others of the family. Different tunings, etc. I don't anticipate getting beyond the Renaissance lute, but perhaps shouldn't close my mind to the possibility. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
nedma...@aol.com wrote: I guess we were pretty good sight readers, Stuart. I had studed percussion since Jr. High and was playing drums professionally at the time. The other 'lutenists' were very good players - conservatory trained - on their respective modern instruments. So we all did well with the rhythmic complexities. Also, required at the workshop were daily classes in doing exercises from Hindemith's Elementary Training for Musicians. By the time you get into the third or fourth chapter of that, you're having fun with rhythms! As a drummer, it was actually the rhythmic 'interest' characteristic of much early music that initially attracted me. Another memorable evening was spent listening to recorder players trying to read through Christe Crosse from T. Morley's A Plain and Easy Introduction to Music (if I remember the title correctly). One would have to look to contemporary - or at least modern - musical works to find similar rhythmic complexity, I think. Ned We had a classically-trained violinist stay with us for a while (Bartok no problem etc) - and I put some fifteenth century music in front of her (I chose something quite tricky!) and she was really quite flummoxed - for a couple of minutes anyway, but then sorted it out. What I find most shocking/surprising in this kind of music (as it is realised in modern editions) is seeing what looks like a simple melodic line which, if it were in 4/4 would be a simple as could be. But it's not on the the beat at all! But there is a beat and some of the other parts may be playing it - or not. (I can put up some juicy examples if anyone is interested) Jon Banks has been championing a repertoire (some textless chansons and other things) from around 1500 which he argues is for lute trio (or a trio of plucked instruments, probably of different sizes). He has written a book about it and the Lute Society (UK) has published some of the pieces. I have worked on some of the pieces (as an amateur) and I still don't feel at all confident at trying to play them with others. I'd be interested to know who is playing them. Stuart No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.5.409 / Virus Database: 270.13.91/2362 - Release Date: 09/11/09 05:50:00 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Please do. On Sep 12, 2009, at 7:35 AM, Stuart Walsh wrote: (I can put up some juicy examples if anyone is interested) Ed Durbrow Saitama, Japan [1]edurb...@sea.plala.or.jp [2]http://www9.plala.or.jp/edurbrow/ -- References 1. mailto:edurb...@sea.plala.or.jp 2. http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
I would certainly be interested in some of the juicy examples you mention, Stuart. And I will definitley look into Jon Banks - what he has written and what the Lute Society has published. For other juicy examples in modern notation (but with some lovely examples of the original notation in the introduction), have you seen (or do you own) French Secular Music of the Late Fourteenth Century edited by Willi Apel? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
And a third vote for the examples. Bring on the juice, Stuart! Best to all, and keep playing, Chris. nedma...@aol.com 9/11/2009 8:34 PM I would certainly be interested in some of the juicy examples you mention, Stuart. And I will definitley look into Jon Banks - what he has written and what the Lute Society has published. For other juicy examples in modern notation (but with some lovely examples of the original notation in the introduction), have you seen (or do you own) French Secular Music of the Late Fourteenth Century edited by Willi Apel? Ned -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute
