[LUTE] Re: Continuo
The Novello is the Dart Edition, I belive, which is not too bad, but has way too many page turns! There is, to my knowledge, no suitable modern edition, but the Bartlett has at least most of the original marks. And way less page turns. I did find the missing chacony, which is a very funny story. Another fun Dido tidbit is that the triplets are always performed at double speed, so that the opera is 2 beats shorter than composed. dt At 06:23 AM 10/26/2009, you wrote: >I'm using an edition by Novello. > > > > It might also give you a version that differs from the one that you > will be performing. There are a some editorial choices/additions > that are made in Dido; > > >I didn't know there were numbers with guitars, nice to know. My >decision to use a guitar is simply because it is the only baroque >instrument I have! However I noticed that the opera has many nice >places to use the guitar (chorus and dances). > > indeed, if I remember right, the numbers with > "gittars," indicated in the 1689 Josiah Priest school libretto, are > not in the surviving score, which dates from at least 50 years > later, > and have to be added (by repeating the music from vocal numbers or > some other way). So proceed with caution if you're going to use > some > other version. > >That's what I am about to do... > > Safer to take the time to photocopy and cut up the part (after using > the lower parts to figure the bass). > >-- >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-admin/index.html
[LUTE] Re: Hieber in Brussels, what else?
The museum is worth seeing, particualrly the archlute and the harpsichords. However, the new Art Deco Bulding shows only a fraction of the museums extraordinary collection, the remainder is warehoused. Do visit the cafe on the top floor. dt At 02:58 PM 10/28/2009, you wrote: >I rather unexpectedly ended up in northern Europe for a short trip >that starts in Amsterdam and ends in Paris. It occurred to me that the >1580 Hieber is (was?) in the museum in Brussels, which is on the way. >Does anyone know if the Hieber lute is currently in a >publicly-viewable part of the museum? > >I think there might also be a Hoffman there, and another one in Paris. > Same question applies: are these lutes public, or are they in some >basement somewhere being preserved or repaired etc? > >Any other recommendations on where to go lute-watching in Amsterdam, >Brussels, or Paris? I've got about a week and don't have time to go >to Vienna, but I'd like to see whatever I can in the few cities I will >be visiting. > >Thanks, > > Michael > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Hieber in Brussels, what else?
I rather unexpectedly ended up in northern Europe for a short trip that starts in Amsterdam and ends in Paris. It occurred to me that the 1580 Hieber is (was?) in the museum in Brussels, which is on the way. Does anyone know if the Hieber lute is currently in a publicly-viewable part of the museum? I think there might also be a Hoffman there, and another one in Paris. Same question applies: are these lutes public, or are they in some basement somewhere being preserved or repaired etc? Any other recommendations on where to go lute-watching in Amsterdam, Brussels, or Paris? I've got about a week and don't have time to go to Vienna, but I'd like to see whatever I can in the few cities I will be visiting. Thanks, Michael To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Difference 13c.-11c. vs. 10c.-6c. ?
Hi all, perhaps my "inter b-lute, r-lute" mail is worth of sending to the main lute list, too? Arto Original Message Subject: [BAROQUE-LUTE] Difference 13c.-11c. vs. 10c.-6c.? Date: Wed, 28 Oct 2009 23:38:55 +0200 From: wikla To: baroque-l...@cs.dartmouth.edu Hi lute folks, my very tiny experience of an 13 course swan neck has told me that the difference between a big late baroque swan neck lute of 18th century and an 11 course (French) lute of 17th century is even bigger than playing the 6 course music, let us say for ex. F. da Milano, by a 10 course lute. What do you think? Isn't Denis Gaultier by a "swan neck" a bigger sin than F. da Milano by a 10 courser? To my ears: yes it is! The galant style of (late) Weiss, not to speak of Falkenhagen, is much nearer to Haydn and even Mozart than for ex. just this D. Gaultier is to (late) Weiss. And so (still to my ears) this D. Gaultier seems to be much nearer to the lute music in the "Vieil Accord", the "renaissance tuning", than his music relates to the "galant" style. No evaluating here, just thoughts... ;-) All the best - alles gut, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: CANARIOS-BACHARIOS LUTEDUO version on youtube:)
I love it!! Thanks for sharing it! Regards, Leonard Williams /[ ] / \ | * | \_=_/ On 10/26/09 5:08 PM, "Anton Birula" wrote: > Dear Friends, > > here is a link to our live performance of a > CANARIOS-BACHARIOS > -- > > http://www.youtube.com/watch?v=nVQWw_53ZP0 > > -- > > We made this quodlibet thinking of Sanz meeting Bach which chronologically > could happen: > > > Best wishes, Anna & Anton > www.luteduo.com > > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Key Question
It sounds like these compositions may have been pre-cursors to Charles Ives! Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Key Question
Mathias, Your concept, outlined in the last paragraph of your note, seems to make logical sense. There is no way we will ever know the exact intent of the clashes, but your explanation is certainly a possibility. Everywhere in art and music, there are often double meanings, and that is where artistic interpretation comes to one's thought. ed At 04:39 AM 10/28/2009, Mathias Rösel wrote: Edward, thank you for the hints! I was lucky enough to play pieces from Pacoloni's the past weekend, and we stumbled upon those clashes, too. The lines of the descant IMHO seem to be carefully composed, though (talkin' bout dis cant cos me figure yer in de know), running along with the other parts unisono now and then. Clashes seem to be intended IMHO, bringing out a certain character, as you put it. I should be happy to accentuate the dissonance, making the audience know that this is what is meant, and not a mistake. If only I knew where and how. My imagination runs along the lines of a kind of stage performance. Wittenberg, its university in particular, was the centre of Lutheran reformation. I imagine that one student dances with the tenor lute, which plays the actual dance song. Another goes with the interchanging bass lute, personating a double-minded student. And the third, going with the thoroughly dissonating descant lute, allegorises a positive dissenter >8) What I'd like to find out is if there is support for this conception. "Edward Martin" schrieb: > Mathias, > > I am not familiar with the music in question, but > I have worked in the past with the Pacoloni > trios. Many of these pieces has many, many > errors of clashing major to minor > tonalities. Some ensembles have "cleaned" them > with a great deal of editing, where others have > played them "as is" in playing the dissonant tonalities. > > It really may merely be a matter of taste, in > selecting which way to go. With a title of > "Studentten tantz" perhaps the intent was to show > how a student ensemble would sound! > > Another example may be the Besard Bransle de > Village, with all the discord. In that piece, I > thing the alarming, clashing tones are very > energizing, and bring out a most rustic character. > > From what you describe, it seems as though the > dissonance is deliberate. In the past, when > performing this kind of dissonance, it is often > quite effective to accentuate the dissonance, > making the audience know that this is what is meant, and not a mistake. > > ed > At 02:07 PM 10/27/2009, Mathias Rösel wrote: > >Hi everybody, > > > >Amsterdam, Toonkunst-Bibliotheek, Ms. 208.A.27 (for contents see > >http://www-bnus.u-strasbg.fr/smt/0660.htm) contains several dances for > >lutes ensemble. > > > >On fol. 63v-64v there is the Wittemberger Studentten tantz & Saltarello > >(unicum) for three lutes, viz. bass (D-lute), tenor (G-lute), and > >descant (A-lute). > > > >Problem: While the tenor runs in G minor throughout, the descant has it > >all in major, and the bass interchanges section by section from minor to > >major and back. > > > >It's no slip of the pen, that much is clear. We couldn't make sense of > >it, though. Is someone familiar and perhaps knows how to deal with > >this? > >-- > >Mathias 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: 8.5.423 / Virus Database: 270.14.34/2463 - Release Date: 10/27/09 15:50:00 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=1660298871&ref=name http://www.myspace.com/edslute
[LUTE] Re: Facsimiles
I have had just mistake on copy and paste. Link is already amended. Thanks to Kenneth and Markus. > -Original Message- > From: lute-...@cs.dartmouth.edu > [mailto:lute-...@cs.dartmouth.edu]on Behalf Of Kenneth M Berry > Sent: Wednesday, October 28, 2009 12:59 AM > To: T.Kakinami; lute@cs.dartmouth.edu > Subject: [LUTE] Re: Facsimiles > > > The link to Balint Bakfark is for Arian Denss on your blog. > > --- On Tue, 10/27/09, T.Kakinami wrote: > > > From: T.Kakinami > > Subject: [LUTE] Re: Facsimiles > > To: "wolfgang wiehe" , lute@cs.dartmouth.edu > > Date: Tuesday, October 27, 2009, 5:44 AM > > My blog is updated. Thanks to > > Wolfgang. > > > > ** > > Toshiaki Kakinami > > Nagoya, JAPAN > > http://kakitoshilute.blogspot.com > > ** > > > > > > > > > -Original Message- > > > From: wolfgang wiehe [mailto:wie-w...@gmx.de] > > > Sent: Monday, October 26, 2009 11:54 PM > > > To: T.Kakinami; lute@cs.dartmouth.edu; > > tk...@orchid.plala.or.jp > > > Subject: Re: [LUTE] Facsimiles > > > > > > > > > between more lute manuscripts are online: > > > > > > # munich mus. ms. 266 (with marco fascicle) > > > http://daten.digitale-sammlungen.de/~db/0003/bsb00031681/images/ > > > > > > # munich mus. ms. 267 > > > http://daten.digitale-sammlungen.de/~db/0003/bsb00032067/images/ > > > > > > # munich mus. ms. 1512 > > > http://daten.digitale-sammlungen.de/~db/0003/bsb00031633/images/ > > > > > > # munich mus. ms. 272 > > > http://daten.digitale-sammlungen.de/~db/0003/bsb00031731/images/ > > > it seems to be something wrong with this last > > digitalisat, go to > > > "miniaturansicht" and than backwards. > > > > > > greetings > > > wolfgang > > > > > > > > > > > > > > > Original-Nachricht > > > > Datum: Mon, 26 Oct 2009 23:19:49 +0900 > > > > Von: "T.Kakinami" > > > > An: "T.Kakinami" , > > lute@cs.dartmouth.edu > > > > Betreff: [LUTE] Facsimiles > > > > > > > Facsimiles from Diditale Bibliothek, Munchener > > > DigitalisierungsZentrum are > > > > introduced. > > > > Links for URL are attached. > > > > Please enjoy. > > > > > > > > > > http://kakitoshilute.blogspot.com/2009/10/diditale-bibliothek-munchener.html > > > > > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > >
[LUTE] Re: Key Question
Edward, thank you for the hints! I was lucky enough to play pieces from Pacoloni's the past weekend, and we stumbled upon those clashes, too. The lines of the descant IMHO seem to be carefully composed, though (talkin' bout dis cant cos me figure yer in de know), running along with the other parts unisono now and then. Clashes seem to be intended IMHO, bringing out a certain character, as you put it. I should be happy to accentuate the dissonance, making the audience know that this is what is meant, and not a mistake. If only I knew where and how. My imagination runs along the lines of a kind of stage performance. Wittenberg, its university in particular, was the centre of Lutheran reformation. I imagine that one student dances with the tenor lute, which plays the actual dance song. Another goes with the interchanging bass lute, personating a double-minded student. And the third, going with the thoroughly dissonating descant lute, allegorises a positive dissenter >8) What I'd like to find out is if there is support for this conception. "Edward Martin" schrieb: > Mathias, > > I am not familiar with the music in question, but > I have worked in the past with the Pacoloni > trios. Many of these pieces has many, many > errors of clashing major to minor > tonalities. Some ensembles have "cleaned" them > with a great deal of editing, where others have > played them "as is" in playing the dissonant tonalities. > > It really may merely be a matter of taste, in > selecting which way to go. With a title of > "Studentten tantz" perhaps the intent was to show > how a student ensemble would sound! > > Another example may be the Besard Bransle de > Village, with all the discord. In that piece, I > thing the alarming, clashing tones are very > energizing, and bring out a most rustic character. > > From what you describe, it seems as though the > dissonance is deliberate. In the past, when > performing this kind of dissonance, it is often > quite effective to accentuate the dissonance, > making the audience know that this is what is meant, and not a mistake. > > ed > At 02:07 PM 10/27/2009, Mathias Rösel wrote: > >Hi everybody, > > > >Amsterdam, Toonkunst-Bibliotheek, Ms. 208.A.27 (for contents see > >http://www-bnus.u-strasbg.fr/smt/0660.htm) contains several dances for > >lutes ensemble. > > > >On fol. 63v-64v there is the Wittemberger Studentten tantz & Saltarello > >(unicum) for three lutes, viz. bass (D-lute), tenor (G-lute), and > >descant (A-lute). > > > >Problem: While the tenor runs in G minor throughout, the descant has it > >all in major, and the bass interchanges section by section from minor to > >major and back. > > > >It's no slip of the pen, that much is clear. We couldn't make sense of > >it, though. Is someone familiar and perhaps knows how to deal with > >this? > >-- > >Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
