[BAROQUE-LUTE] Ms. Schwerin 641
Hello luters, If anyone should happen to have a facsimile of Ms. Schwerin 641, could you get in touch off list? Many thanks! Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] marco dall´aquila
hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [LUTE] marco dall´aquila
sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALL’AQUILA, MARCO. L’opera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall´aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Keeping pegs pushed in.
It's called frapping among gambists and violinists and happens all the time. Bass gambists will press their heads against the neck of the instrument while turning the pegs on the side opposite to provide the pressure needed to prevent frapping. On the bass side the gambist will use the index finger and thumb to turn the peg while positioning 2 fingers of the same hand on the treble side to provide enough pressure to, it is hoped, prevent frapping. Even then, frapping occurs often enough. A fact of early music life. Gary - Original Message - From: Herbert Ward wa...@physics.utexas.edu To: lute@cs.dartmouth.edu Sent: Monday, March 29, 2010 11:48 AM Subject: [LUTE] Keeping pegs pushed in. I expend some work keeping my pegs pushed in, to avoid the 24-hour catastrophe of having a peg spin loose and its string de-stretch. So, it's a somewhat frustrating that violin/viol/viola/bass players never seem to worry about this issue. While tuning, they turn the peg with one hand and bow with the other hand. I have never seen them put down the bow, brace the violin with the right hand, and push in a peg with the left hand. And I have never noticed their pegs spinning loose, despite the dozens of symphonies I've seen with dozens of string instruments in each symphony. 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: 9.0.791 / Virus Database: 271.1.1/2774 - Release Date: 03/27/10 12:32:00
[LUTE] Re: marco dall´aquila
Hi, I have been in touch with LIM for a couple of years. As far as I can tell that volume is still under preparation. The bad earthquake in L'Aquila last year surely did not help either... Four Marco da L'Aquila Fatansie are availbale as Facsimile in the G. A. casteliono volume printed in 1536 and reprinted by SPES. Most of his works coming from the Munich manuscript have been edited (in French tablature) by Denys Stephens and available at the UK Lute Society, in any case. Luca wolfgang wiehe on 30-03-2010 11:10 wrote: sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALL’AQUILA, MARCO. L’opera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall´aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [LUTE] Re: marco dall´aquila
It is available now., at least in the Germany and UK websites on Amazon; you can hear it on the German site: http://www.amazon.de/Lautenst%C3%BCcke-Paul-ODette/dp/B003064CZ0/ref=sr_1_7?ie=UTF8s=musicqid=1269957552sr=8-7 ed At 09:03 AM 3/30/2010, Luca Manassero wrote: Hi, I have been in touch with LIM for a couple of years. As far as I can tell that volume is still under preparation. The bad earthquake in L'Aquila last year surely did not help either... Four Marco da L'Aquila Fatansie are availbale as Facsimile in the G. A. casteliono volume printed in 1536 and reprinted by SPES. Most of his works coming from the Munich manuscript have been edited (in French tablature) by Denys Stephens and available at the UK Lute Society, in any case. Luca wolfgang wiehe on 30-03-2010 11:10 wrote: sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALLâAQUILA, MARCO. Lâopera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall´aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. 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
[LUTE] Re: marco dall´aquila
We're talking about the MUSIC of Marco da L'Aquila, not the Paul O'Dette CD recording!! Edward Martin on 30-03-2010 16:06 wrote: It is available now., at least in the Germany and UK websites on Amazon; you can hear it on the German site: http://www.amazon.de/Lautenst%C3%BCcke-Paul-ODette/dp/B003064CZ0/ref=sr_1_7?ie=UTF8s=musicqid=1269957552sr=8-7 ed At 09:03 AM 3/30/2010, Luca Manassero wrote: Hi, I have been in touch with LIM for a couple of years. As far as I can tell that volume is still under preparation. The bad earthquake in L'Aquila last year surely did not help either... Four Marco da L'Aquila Fatansie are availbale as Facsimile in the G. A. casteliono volume printed in 1536 and reprinted by SPES. Most of his works coming from the Munich manuscript have been edited (in French tablature) by Denys Stephens and available at the UK Lute Society, in any case. Luca wolfgang wiehe on 30-03-2010 11:10 wrote: sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALL’AQUILA, MARCO. L’opera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall´aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. 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
[LUTE] Re: [LUTE] Re: [LUTE ] marco dall´aquila
Wolfgang and All: I'm sure you know about the scores of Marco's music that Arthur Ness has kindly posted. http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/id16.html Ron Andrico www.mignarda.com Date: Tue, 30 Mar 2010 11:10:48 +0200 To: wie-w...@gmx.de; lute@cs.dartmouth.edu From: wie-w...@gmx.de Subject: [LUTE] Re: [LUTE] marco dall'aquila sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALLAQUILA, MARCO. Lopera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall'aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html __ Hotmail is redefining busy with tools for the New Busy. Get more from your inbox. [1]Sign up now. -- References 1. http://www.windowslive.com/campaign/thenewbusy?ocid=PID27925::T:WLMTAGL:ON:WL:en-US:WM_HMP:032010_2
[LUTE] AW: [LUTE] Re: [LUTE] marco dall´aquila
yes I know, dear ron, and I know about the sources in print and the munich ms 266 and denys work. I am interested in the annonced edition of marco's works. ;-) wolfgang -Urspruengliche Nachricht- Von: Ron Andrico [mailto:praelu...@hotmail.com] Gesendet: Dienstag, 30. Maerz 2010 16:51 An: wie-w...@gmx.de; lute@cs.dartmouth.edu Betreff: RE: [LUTE] Re: [LUTE] marco dall'aquila Wolfgang and All: I'm sure you know about the scores of Marco's music that Arthur Ness has kindly posted. http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/id16.html Ron Andrico www.mignarda.com Date: Tue, 30 Mar 2010 11:10:48 +0200 To: wie-w...@gmx.de; lute@cs.dartmouth.edu From: wie-w...@gmx.de Subject: [LUTE] Re: [LUTE] marco dall'aquila sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALL'AQUILA, MARCO. L'opera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall'aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Hotmail is redefining busy with tools for the New Busy. Get more from your inbox. [1]Sign up now. -- References 1. http://www.windowslive.com/campaign/thenewbusy?ocid=PID27925::T:WLMTAGL:ON:WL:en-US:WM_HMP:032010_2
[LUTE] Re: [LUTE]_marco_da ll´aquila
Ms 266 from Munich Bayerische Staatsbibliothek, which contains music by Marco and was studied by Arthur Ness and very kindly put online, as Ron reminded us, can be downloaded as a pdf facsimile here : http://daten.digitale-sammlungen.de/~db/0003/bsb00031681/images/ Best, Jean-Marie Poirier = == En réponse au message du 30-03-2010, 16:51:49 == Wolfgang and All: I'm sure you know about the scores of Marco's music that Arthur Ness has kindly posted. http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/id16.html Ron Andrico www.mignarda.com Date: Tue, 30 Mar 2010 11:10:48 +0200 To: wie-w...@gmx.de; lute@cs.dartmouth.edu From: wie-w...@gmx.de Subject: [LUTE] Re: [LUTE] marco dall'aquila sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALLAQUILA, MARCO. Lopera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall'aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html __ Hotmail is redefining busy with tools for the New Busy. Get more from your inbox. [1]Sign up now. -- References 1. http://www.windowslive.com/campaign/thenewbusy?ocid=PID27925::T:WLMTAGL:ON:WL:en-US:WM_HMP:032010_2 --- 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] Ms. Schwerin 641
Hello luters, If anyone should happen to have a facsimile of Ms. Schwerin 641, could you get in touch off list? Many thanks! Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: marco dall´aquila
Dear Wolfgang, dear all,
when Paul O'Dette played a concert in Benediktbeuern last year, I asked
him about the progress of the edition and if the earthquake might have
destroyed the work of Pratola. He could tell me that Pratola and his
family plus his work on the Marco edition had escaped without damage or
hurt and that he was positive to work together with Pratola and lay the
finishing touches to the edition in the roughly two weeks after the
concert (he traveled to Italy after it). I suppose that it will not be
long until it finally appears.
I have listened to a few tracks from POD's Marco CD on the Harmonia
Mundi site - I can not believe this, they must have hired a deaf studio
crew!
All best,
Joachim
wolfgang wiehe wie-w...@gmx.de schrieb:
yes I know, dear ron,
and I know about the sources in print and the munich ms 266 and denys
work. I am interested in the annonced edition of marco's works.
;-)
wolfgang
-Urspruengliche Nachricht-
Von: Ron Andrico [mailto:praelu...@hotmail.com]
Gesendet: Dienstag, 30. Maerz 2010 16:51
An: wie-w...@gmx.de; lute@cs.dartmouth.edu
Betreff: RE: [LUTE] Re: [LUTE] marco dall'aquila
Wolfgang and All:
I'm sure you know about the scores of Marco's music that Arthur Ness
has kindly posted.
http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/id16.html
Ron Andrico
www.mignarda.com
Date: Tue, 30 Mar 2010 11:10:48 +0200
To: wie-w...@gmx.de; lute@cs.dartmouth.edu
From: wie-w...@gmx.de
Subject: [LUTE] Re: [LUTE] marco dall'aquila
sorry,
i just found this:
http://www.lim.it/Catalogo_2010.pdf
page 9
##
DALL'AQUILA, MARCO. L'opera per liuto. Edizione critica. (Fonti di
Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a
fascicoli
separati (intavolatura e notazione moderna) per interpreti.
IN PREPARAZIONE
##
Original-Nachricht
Datum: Tue, 30 Mar 2010 10:27:28 +0200
Von: wolfgang wiehe wie-w...@gmx.de
An: lute@cs.dartmouth.edu
Betreff: [LUTE] marco dall'aquila
hello,
someone knows this edition? is it really printed? and available?
Marco dall'Aquila: Lute Works, edited by Paul O' Dette and
Maurizio
Pratola, LIM - Libreria Musicale Italiana, Lucca 2008.
2009?
greetings
w.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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[LUTE] Re: Ms. Schwerin 641
There will be a facsimile edition of Schwerin 641 edited by Francois Pierre Goy, published by TREE, available later this year. Regards Albert Reyerman TREE Am 30.03.2010 18:03, schrieb Benjamin Narvey: Hello luters, If anyone should happen to have a facsimile of Ms. Schwerin 641, could you get in touch off list? Many thanks! Benjamin -- TREE EDITION -Music for the Lute- Albert Reyerman Finkenberg 89 23558 Luebeck Germany www.Tree-Edition.com albertreyer...@kabelmail.de ++49 (0) 451 899 78 48 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Montezuma and the lute
During the next June I'll play Montezuma by Graun at the Musikfestspiele Potsdam Sanssouci, near Berlin. I was very excited to play this music because I remembered this opera mentioned in a paper by Rober Spencer Chitarrone, theorbo and archlute. Speaking about the 'German theorbo', he says: The tiorba was used in Vienna, Prague and Berlin during the 18th century: J.J. Fux, Orfeo ed Euridice (Vienna, 1715), Costanza (Prague, 1723); C. H. Graun. Montezuma (Berlin, 1755). Also, it's possible to hear an aria with obbligato lute in an old LP by Decca (1967), with Joan Sutherland singing, and Desmond Dupré playing a sort of concertante lute part (there's also the orchestra with pizzicato strings). Today I received the modern score, but the aria has no lute: just continuo and pizzicato strings, and also the original manuscript is without lute part. Now I'm trying to understand if there's an original tabulature of this lute part of the aria, or if the 'historical' reference is just the LP and the part played by Duprè... Any ideas? thanks, Diego __ Information from ESET NOD32 Antivirus, version of virus signature database 4966 (20100322) __ The message was checked by ESET NOD32 Antivirus. http://www.eset.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: marco dall´aquila
That's the one on which Valéry was ranting ... Mathias Edward Martin e...@gamutstrings.com schrieb: It is available now., at least in the Germany and UK websites on Amazon; you can hear it on the German site: http://www.amazon.de/Lautenst%C3%BCcke-Paul-ODette/dp/B003064CZ0/ref=sr_1_7?ie=UTF8s=musicqid=1269957552sr=8-7 ed At 09:03 AM 3/30/2010, Luca Manassero wrote: Hi, I have been in touch with LIM for a couple of years. As far as I can tell that volume is still under preparation. The bad earthquake in L'Aquila last year surely did not help either... Four Marco da L'Aquila Fatansie are availbale as Facsimile in the G. A. casteliono volume printed in 1536 and reprinted by SPES. Most of his works coming from the Munich manuscript have been edited (in French tablature) by Denys Stephens and available at the UK Lute Society, in any case. Luca wolfgang wiehe on 30-03-2010 11:10 wrote: sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALLâAQUILA, MARCO. Lâopera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall´aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: HIP, was string tension of all things
I guess what I am saying is that informed in the sense of educated is generally reserved for people, not objects. Therefore, a performance cannot be educated. A building cannot be educated. dt At 10:06 PM 3/27/2010, you wrote: David, I am relying solely on memory here, but I believe that forma was the Latin term used for both eidos and morphe when Aristotle was translated into Latin in the late twelfth century (though I could be wrong). The scholastic Latin usage of informare means to put form into, and has the sense of the Latin in plus the accusative case. The prefix in- in the word informis is a negative prefix meaning not and has no relation to the in in informare. According to the Aquinas dictionary I cited earlier, informatio means (1) formation, i.e., providing with a form, synonym of 'formatio' and (2) arrangement, management. The meaning of idea is not listed, though perhaps St. Thomas does use it in that sense somewhere, and his contemporaries certainly may have as well. The OED has two listings for informed. The first, which does not concern us here, derives from informis and means unformed. The second, which does concern us, derives from the perfect passive participle informatum and has as its first meaning put into form, formed, fashioned, though that meaning is now regarded as obsolete (except in Neo-Scholastic circles, in which it is still very much in use). The second and current usage, which the OED gives as instructed; having knowledge of or acquaintance with facts; educated, enlightened, intelligent, I suspect derives from the first. In scholastic epistemology the forma intellectus is the species or concept abstracted from the phantasma or sense impression. It informs the intellect in a way analogous to that in which the forms of natural things inform their matter. The intellect that receives the abstracted form is thus informed, both in the sense of having undergone an (in)formation and of having knowledge or information in the modern sense of the word. With regards to HIP, the question, I think, is whether informed means that the performance has been formed or shaped by historical principles (the OED's first meaning for the past participle) or that the performer is educated in historical practice (the OED's second meaning for the past participle). I have always taken it in the first way, in which case it is perfectly correct grammatically to say that a performance is informed. If it is meant in the second way, then, if not ungrammatical, it is at least illogical, since as you say, only people are informed. I suppose that it is the very illogicality of that usage that led me to take it in the first way, in addition to my familiarity with the Aristotelian-Thomistic philosophical tradition. It is always a pleasure to read your learned disquisitions. Equally respectfully, Stephen - Original Message - From: David Tayler vidan...@sbcglobal.net To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Saturday, March 27, 2010 10:25 PM Subject: [LUTE] Re: HIP, was string tension of all things You can look up the definitions of inform as a verb and informed as an adjective in any good dictionary. The definitions are different. The reason is that there are a number of words that split off in the middle ages that share the same root, form- I haven't seen a dictionary that says adjectives derived from verbs have a different, unspecified definition. Why would people write down definitions that they knew to be incomplete or wrong? As far as the Classical Latin meaning, one can select the medieval definition instead of the classical one, but of course there were many words in medieval Latin with that root, and they, as well, all have different meanings. As far as the Greek references, the situation is more complex. I myself don't agree that there is a direct parallel to the Greek morph- stem. There was a distinct split in Greek usage. Many of the Greek writers that were admired in the renaissance, and now, and therefore were influential in the development of the language, preferred the word eidos over those words which were based on the morph- root. Homer and Plato, for example. Eidos was so important that it was picked up in Latin as well, but nowadays in relegated to the oid in android, anthropoid, etc., as well as the word allantois which appears in 17th century English. Regardless, morph turned into morphology, one branch of form- went to information, the knowledge branch, if you will, and the other branch of form- went into character or substance. One could argue of course that the definitions in the dictionary are wrong, or don't tell the whole story, but in this case the dictionary is widely supported by literature and etymology. If there were a strong verbal force, it would appear in the definition. Since you bring up Aquinas, I would point out that informare means to give shape, but at the same time of Aquinas, the word
[LUTE] Re: [LUTE] Re: marco dall´aquila
There are sour notes in track 15.. RT - Original Message - From: Mathias Rösel mathias.roe...@t-online.de To: lute@cs.dartmouth.edu Sent: Tuesday, March 30, 2010 2:02 PM Subject: [LUTE] Re: marco dall´aquila That's the one on which Valéry was ranting ... Mathias Edward Martin e...@gamutstrings.com schrieb: It is available now., at least in the Germany and UK websites on Amazon; you can hear it on the German site: http://www.amazon.de/Lautenst%C3%BCcke-Paul-ODette/dp/B003064CZ0/ref=sr_1_7?ie=UTF8s=musicqid=1269957552sr=8-7 ed At 09:03 AM 3/30/2010, Luca Manassero wrote: Hi, I have been in touch with LIM for a couple of years. As far as I can tell that volume is still under preparation. The bad earthquake in L'Aquila last year surely did not help either... Four Marco da L'Aquila Fatansie are availbale as Facsimile in the G. A. casteliono volume printed in 1536 and reprinted by SPES. Most of his works coming from the Munich manuscript have been edited (in French tablature) by Denys Stephens and available at the UK Lute Society, in any case. Luca wolfgang wiehe on 30-03-2010 11:10 wrote: sorry, i just found this: http://www.lim.it/Catalogo_2010.pdf page 9 ## DALL’AQUILA, MARCO. L’opera per liuto. Edizione critica. (Fonti di Storia Musicale Abruzzese, 1). Disponibile anche in tiratura a fascicoli separati (intavolatura e notazione moderna) per interpreti. IN PREPARAZIONE ## Original-Nachricht Datum: Tue, 30 Mar 2010 10:27:28 +0200 Von: wolfgang wiehe wie-w...@gmx.de An: lute@cs.dartmouth.edu Betreff: [LUTE] marco dall´aquila hello, someone knows this edition? is it really printed? and available? Marco dall'Aquila: Lute Works, edited by Paul O' Dette and Maurizio Pratola, LIM - Libreria Musicale Italiana, Lucca 2008. 2009? greetings w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: CD Dall'Aquila
Is there a one stop shopping for for Aquila's music scores? I'm in a buying mood. Sorry about the CD sound, I guess there are no refunds. I suppose we could send a group letter, making it very clear of course that the engineering is the issue, and that Paul deserves the best. dt At 07:05 AM 3/29/2010, you wrote: Here the recording is in a castle, not in a church, near the city of Aquila, Italy. But there was perhaps more suitable rooms in the castle ? It's a pity because Dall'Aquila's music is beautiful(and Paul's playing too) V. -Message d'origine- De : Monica Hall [mailto:mjlh...@tiscali.co.uk] Envoyé : lundi 29 mars 2010 15:56 À : Valéry Sauvage Cc : Lutelist Objet : Re: [LUTE] Re: CD Dall'Aquila I agree with you. I listened to a few tracks and was appalled. It's as if they had recorded it in the local swimming baths. There is this tendency to use churches for recording this repertoire - possibly because churches (in England at least) charge less than other venues. Most of them are completely inappropriate and unsuitable. What a shame for Paul. Monica - Original Message - From: Valéry Sauvage sauvag...@orange.fr To: lute@cs.dartmouth.edu Sent: Monday, March 29, 2010 1:42 PM Subject: [LUTE] Re: CD Dall'Aquila It seems to me the CD is worst (but I'm listenint to the web page on a computer with poor speakers cutting high frequencies) CD, on a good hifi player, treble are really agressive. Like if it was played on a metal strung instrument (but not a soft orpharion, Alas...) and also a cathedral effect, like a bad computer reverb effect. But I would like others opinion if some had the CD (On the French list there is another bad opinion) V. -Message d'origine- De : Andrew White Envoyé : lundi 29 mars 2010 13:57 À : Valery Sauvage Objet : Re: [LUTE] CD Dall'Aquila Val, Does the CD sound better, worse of the same as the tracks on the webpage? http://www.harmoniamundi.com/#/albums?view=playlistsid=1456 It sounds to me like the microphone is at the back of a hall Andrew On 29/03/2010, at 9:03 PM, Valery Sauvage wrote: I just receive the last CD by Paul O'Dette, of Dall'Aquila's music at Harmonia Mundi. I'm afraid it is really bad. Not Paul's playing (excellent as usual) but sound recording is really not audible (is it the right word ?) Trebles are aggressive, bass mixed in a soap sound... The booklet says it is the historical place where it was recorded that is very much reverberant... Why did they choose this place ? even if it was not possible to record in the church in Aquila where the plan to do first, but can't because of the earthquake. I send a mail to Harmonia Munid, to ask them to take this out of sell and make a new one on the usual standard... (and to ask my money back !) Other opinions ? Val L -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Keeping pegs pushed in.
Pull the peg out, sand it very lightly to remove the excess wax, and replace. If the peg does not fit, it must be sharpened with a special tool, and possibly the holes reamed. I never use peg goop, and my pegs very rarely move. However, pegs to frap to use Mace's word, mostly when you dive into air conditioned rooms. And I have seen orchestra players frap their pegs! There's one in the video of the Christmas Concerto I'm working on, but I won't use that camera angle. dt At 11:48 AM 3/29/2010, you wrote: I expend some work keeping my pegs pushed in, to avoid the 24-hour catastrophe of having a peg spin loose and its string de-stretch. So, it's a somewhat frustrating that violin/viol/viola/bass players never seem to worry about this issue. While tuning, they turn the peg with one hand and bow with the other hand. I have never seen them put down the bow, brace the violin with the right hand, and push in a peg with the left hand. And I have never noticed their pegs spinning loose, despite the dozens of symphonies I've seen with dozens of string instruments in each symphony. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: CD Dall'Aquila
I am having some confusion about the reportedly bad sound on POD's latest CD. The feeling being poor Paul, he deserves the best and look what some club-eared engineer has done to him. Does Paul not have some input into things like the sound of his recording? Joseph Mayes On 3/30/10 2:25 PM, David Tayler vidan...@sbcglobal.net wrote: Is there a one stop shopping for for Aquila's music scores? I'm in a buying mood. Sorry about the CD sound, I guess there are no refunds. I suppose we could send a group letter, making it very clear of course that the engineering is the issue, and that Paul deserves the best. dt At 07:05 AM 3/29/2010, you wrote: Here the recording is in a castle, not in a church, near the city of Aquila, Italy. But there was perhaps more suitable rooms in the castle ? It's a pity because Dall'Aquila's music is beautiful(and Paul's playing too) V. -Message d'origine- De : Monica Hall [mailto:mjlh...@tiscali.co.uk] Envoyé : lundi 29 mars 2010 15:56 À : Valéry Sauvage Cc : Lutelist Objet : Re: [LUTE] Re: CD Dall'Aquila I agree with you. I listened to a few tracks and was appalled. It's as if they had recorded it in the local swimming baths. There is this tendency to use churches for recording this repertoire - possibly because churches (in England at least) charge less than other venues. Most of them are completely inappropriate and unsuitable. What a shame for Paul. Monica - Original Message - From: Valéry Sauvage sauvag...@orange.fr To: lute@cs.dartmouth.edu Sent: Monday, March 29, 2010 1:42 PM Subject: [LUTE] Re: CD Dall'Aquila It seems to me the CD is worst (but I'm listenint to the web page on a computer with poor speakers cutting high frequencies) CD, on a good hifi player, treble are really agressive. Like if it was played on a metal strung instrument (but not a soft orpharion, Alas...) and also a cathedral effect, like a bad computer reverb effect. But I would like others opinion if some had the CD (On the French list there is another bad opinion) V. -Message d'origine- De : Andrew White Envoyé : lundi 29 mars 2010 13:57 À : Valery Sauvage Objet : Re: [LUTE] CD Dall'Aquila Val, Does the CD sound better, worse of the same as the tracks on the webpage? http://www.harmoniamundi.com/#/albums?view=playlistsid=1456 It sounds to me like the microphone is at the back of a hall Andrew On 29/03/2010, at 9:03 PM, Valery Sauvage wrote: I just receive the last CD by Paul O'Dette, of Dall'Aquila's music at Harmonia Mundi. I'm afraid it is really bad. Not Paul's playing (excellent as usual) but sound recording is really not audible (is it the right word ?) Trebles are aggressive, bass mixed in a soap sound... The booklet says it is the historical place where it was recorded that is very much reverberant... Why did they choose this place ? even if it was not possible to record in the church in Aquila where the plan to do first, but can't because of the earthquake. I send a mail to Harmonia Munid, to ask them to take this out of sell and make a new one on the usual standard... (and to ask my money back !) Other opinions ? Val L -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: HIP, was string tension of all things
I agree 100% that it is the performer, not the performance, that is informed in the sense of educated. My point was that there is another, older sense of informed as having been given form that can legitimately be applied to a performance, though, as I tried to indicate earlier, I suspect that these two senses are related. It is because a performer is informed about or educated in the principles of historical performance that he or she can give a particular historical form to his or her performance and thus inform it (which, by the way, you always do very nicely), so that the performance can then be said to be historically informed. Although this latter sense is immediately evident to me as a student of Latin and of scholastic philosophy (certainly still very current in the Renaissance), perhaps it is no longer very intelligible to most people, and your suggestion that HIP be taken as historically inspired performance therefore seems very reasonable. -Original Message- From: David Tayler vidan...@sbcglobal.net Sent: Mar 30, 2010 2:17 PM To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Subject: [LUTE] Re: HIP, was string tension of all things I guess what I am saying is that informed in the sense of educated is generally reserved for people, not objects. Therefore, a performance cannot be educated. A building cannot be educated. dt At 10:06 PM 3/27/2010, you wrote: David, I am relying solely on memory here, but I believe that forma was the Latin term used for both eidos and morphe when Aristotle was translated into Latin in the late twelfth century (though I could be wrong). The scholastic Latin usage of informare means to put form into, and has the sense of the Latin in plus the accusative case. The prefix in- in the word informis is a negative prefix meaning not and has no relation to the in in informare. According to the Aquinas dictionary I cited earlier, informatio means (1) formation, i.e., providing with a form, synonym of 'formatio' and (2) arrangement, management. The meaning of idea is not listed, though perhaps St. Thomas does use it in that sense somewhere, and his contemporaries certainly may have as well. The OED has two listings for informed. The first, which does not concern us here, derives from informis and means unformed. The second, which does concern us, derives from the perfect passive participle informatum and has as its first meaning put into form, formed, fashioned, though that meaning is now regarded as obsolete (except in Neo-Scholastic circles, in which it is still very much in use). The second and current usage, which the OED gives as instructed; having knowledge of or acquaintance with facts; educated, enlightened, intelligent, I suspect derives from the first. In scholastic epistemology the forma intellectus is the species or concept abstracted from the phantasma or sense impression. It informs the intellect in a way analogous to that in which the forms of natural things inform their matter. The intellect that receives the abstracted form is thus informed, both in the sense of having undergone an (in)formation and of having knowledge or information in the modern sense of the word. With regards to HIP, the question, I think, is whether informed means that the performance has been formed or shaped by historical principles (the OED's first meaning for the past participle) or that the performer is educated in historical practice (the OED's second meaning for the past participle). I have always taken it in the first way, in which case it is perfectly correct grammatically to say that a performance is informed. If it is meant in the second way, then, if not ungrammatical, it is at least illogical, since as you say, only people are informed. I suppose that it is the very illogicality of that usage that led me to take it in the first way, in addition to my familiarity with the Aristotelian-Thomistic philosophical tradition. It is always a pleasure to read your learned disquisitions. Equally respectfully, Stephen - Original Message - From: David Tayler vidan...@sbcglobal.net To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Saturday, March 27, 2010 10:25 PM Subject: [LUTE] Re: HIP, was string tension of all things You can look up the definitions of inform as a verb and informed as an adjective in any good dictionary. The definitions are different. The reason is that there are a number of words that split off in the middle ages that share the same root, form- I haven't seen a dictionary that says adjectives derived from verbs have a different, unspecified definition. Why would people write down definitions that they knew to be incomplete or wrong? As far as the Classical Latin meaning, one can select the medieval definition instead of the classical one, but of course there were many words in medieval Latin with that root, and they, as well, all have different meanings. As far as the Greek
[LUTE] Re: CD Dall'Aquila
Dear David, There is no currently available complete edition. All of the known pieces attributed to Marco in manuscript and printed sources are included in the Lute Society 'Lute News' series edited by myself and John H Robinson which are available from the Lute Society. The series also includes many of the pieces from Munich Ms. 266 which can reasonably be deduced to be by Dall'Aquila on stylistic grounds. This series is tablature only (no score transcription). The Lute Society has avoided producing a complete edition in the hope that the Arthur Ness edition will appear in print, which would surely be regarded as the definitive volume that we would all like to see. Interestingly, the O'Dette CD includes a number of pieces which have not to my knowledge been previously attributed to Marco, some being minor pieces from Munich Ms. 266 and others from seemingly unknown sources. It's possible that these might be from the Castelfranco Ms. which is said to include work by Marco, although there is no inventory of its contents generally available. I look forward to hearing more about those pieces myself. Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of David Tayler Sent: 30 March 2010 19:25 To: lute-cs.dartmouth.edu Subject: [LUTE] Re: CD Dall'Aquila Is there a one stop shopping for for Aquila's music scores? I'm in a buying mood. Sorry about the CD sound, I guess there are no refunds. I suppose we could send a group letter, making it very clear of course that the engineering is the issue, and that Paul deserves the best. dt At 07:05 AM 3/29/2010, you wrote: Here the recording is in a castle, not in a church, near the city of Aquila, Italy. But there was perhaps more suitable rooms in the castle ? It's a pity because Dall'Aquila's music is beautiful(and Paul's playing too) V. -Message d'origine- De : Monica Hall [mailto:mjlh...@tiscali.co.uk] Envoyé : lundi 29 mars 2010 15:56 À : Valéry Sauvage Cc : Lutelist Objet : Re: [LUTE] Re: CD Dall'Aquila I agree with you. I listened to a few tracks and was appalled. It's as if they had recorded it in the local swimming baths. There is this tendency to use churches for recording this repertoire - possibly because churches (in England at least) charge less than other venues. Most of them are completely inappropriate and unsuitable. What a shame for Paul. Monica - Original Message - From: Valéry Sauvage sauvag...@orange.fr To: lute@cs.dartmouth.edu Sent: Monday, March 29, 2010 1:42 PM Subject: [LUTE] Re: CD Dall'Aquila It seems to me the CD is worst (but I'm listenint to the web page on a computer with poor speakers cutting high frequencies) CD, on a good hifi player, treble are really agressive. Like if it was played on a metal strung instrument (but not a soft orpharion, Alas...) and also a cathedral effect, like a bad computer reverb effect. But I would like others opinion if some had the CD (On the French list there is another bad opinion) V. -Message d'origine- De : Andrew White Envoyé : lundi 29 mars 2010 13:57 À : Valery Sauvage Objet : Re: [LUTE] CD Dall'Aquila Val, Does the CD sound better, worse of the same as the tracks on the webpage? http://www.harmoniamundi.com/#/albums?view=playlistsid=1456 It sounds to me like the microphone is at the back of a hall Andrew On 29/03/2010, at 9:03 PM, Valery Sauvage wrote: I just receive the last CD by Paul O'Dette, of Dall'Aquila's music at Harmonia Mundi. I'm afraid it is really bad. Not Paul's playing (excellent as usual) but sound recording is really not audible (is it the right word ?) Trebles are aggressive, bass mixed in a soap sound... The booklet says it is the historical place where it was recorded that is very much reverberant... Why did they choose this place ? even if it was not possible to record in the church in Aquila where the plan to do first, but can't because of the earthquake. I send a mail to Harmonia Munid, to ask them to take this out of sell and make a new one on the usual standard... (and to ask my money back !) Other opinions ? Val L -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: HIP, was string tension of all things
On Mar 30, 2010, at 11:17 AM, David Tayler wrote: I guess what I am saying is that informed in the sense of educated is generally reserved for people, not objects. Therefore, a performance cannot be educated. A building cannot be educated. The only person who has suggested that a historically informed performance means historically educated performance is you. The rest of us have been explaining that informed means something like imbued with or influenced or indeed given form. This is a common usage. I googled informs his style and got 94,600 hits. The first ten are: Tradition and belief: religious writing in late Anglo-Saxon England - Google Books Result Clare A. Lees - 1999 - Religion - 196 pages .. however, that salvation history, which informs the content of his writing, also informs his style. ... books.google.com/books?isbn=0816630038... [PDF] Mt Lebanon Magazine Vol. 25 No. 3 File Format: PDF/Adobe Acrobat - Quick View philosophy that informs his style today. He called it 'the love of the stranger ,' explains Petrolias. You treat your cus- ... www.mtlebanon.org/DocumentView.asp?DID=965 Gareth Oxby on MySpace Music - Free Streaming MP3s, Pictures ... Aug 26, 2008 ... he learnt his craft by means of the hip-hop school of mixology, beginning circa 1982, and this informs his style to this day. ... www.myspace.com/garethoxby - Cached - Similar British social realism: from documentary to Brit-grit - Google Books Result Samantha Lay - 2002 - Performing Arts - 134 pages Leigh has been criticised for constructing characters that are no more than collection of tics and mannerisms which informs his style by focusing in on ... books.google.com/books?isbn=1903364418... Shutterbug: Web Profiles As in Rembrandt's Night Watch, NBC fills each inch of the frame with information , and while the master informs his style it is not even a close copyit's ... shutterbug.com/web_profiles/0508web/ - Cached The Power of One Person - Empowerment Zone -- helping individuals ... That belief informs his style: I give people a chance to get things done. When they don't, Solas doesn't waste time filing a complaint. ... www.empowermentzone.com/onepower.txt - Cached - Similar William Parker Violin Trio Discover music, concerts, pictures ... Coupled with the folk-based intensity that often informs his style the result is one of the most viscerally affecting sounds in improvised music. www.last.fm/music/William+Parker+Violin+Trio - Cached - Similar A Meta-analysis of Kooky Diets, Part I « The Blog of J.D. Moyer Feb 15, 2010 ... This belief informs his style of nutritional evangelism, which can be summarized as Eat fruits and vegetables, dumb-ass, ... jdmoyer.com/2010/02/15/a-meta-analysis-of-kooky-diets-part-i/ - Cached Stainless Steel Droppings » Blog Archive » Friday Favorites: Esao ... Jan 25, 2008 ... i like how theres this way in which he sees things theres a lot behind it, thatinforms his style. i feel you can really look at these ... www.stainlesssteeldroppings.com/?p=841 - Cached - Similar Eric Starr at All About Jazz May 7, 2004 ... He's from Argentina, and that informs his style; it's a wonderful guitar culture . Others on the album include the fiercely talented Kenny ... www.allaboutjazz.com/php/musician.php?id=1912 - Cached - Similar -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Early music workshops
I'm considering summer workshops on the East coast that would offer mixed ensemble playing opportunities for lutenists. Has anyone here attended the Amherst summer workshop, and recommends it? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Early music workshops
I haven't, but do consider the Baroque Performance Institute in Oberlin. You give 2 concerts with 2 different ensembles, Lucas Harris is an excellent teacher, and you are close to Cleveland to catch any LSA concert that interests you. On Tue, Mar 30, 2010 at 5:11 PM, [1]nedma...@aol.com wrote: I'm considering summer workshops on the East coast that would offer mixed ensemble playing opportunities for lutenists. Has anyone here attended the Amherst summer workshop, and recommends it? Ned -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:nedma...@aol.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] was O'Dette CD now groundhog day
Well, I suppose we ALL deserve the best :) It does raise an interesting question, which to me has three parts. 1. Do you lean on the record company if it doesn't sound right? 2. Do you refuse to release it if it really does not sound right. 3. What about multitracking? For me, the answers are as follows: 1. My experience is that even with the best engineers, an argument or lively debate is required to get the best sound. It can be civil, but there must be some back and forth. The worst sound generally comes from my Slicky Poo who knows it all and assures you that it will be fixed in post. In addition, I always bring my own headphones, Sennheiser HD580s (with the $11 cable from the HD 600s). You have to have a known quantity for monitoring. The artists has to take some responsibility for the sound, as unfair as that is. 2. I would say of the roughly 160 projects I have been involved with, about 10 were never released. They spent the money, then decided, hey, it's good, just not good enough. In addition, about 20 of those projects, say ten-twelve percent, maybe a bit higher, went into the redo category. And of those, two of those were full do-overs where the entire project was rerecorded in a sort of musical groundhog day. All of the ones that went back to redo some or all of the project resulted in a big improvement. And one of those projects was rerecorded just because the sound was not quite right. The performances were fine. 3. The remix. Any project will sound better if it is remixed, a sad fact of life. That's because there are millions, millions of ways to remix a multitracked CD. At some point, you say, this is good enough, you have to stop somewhere. But revisiting it months later wll always yield an improvement, especially with a fresh set of ears. If the recording was made with a thicket of mics, I would, for example, use a minimum of six and preferably eight to ten for a lute CD, AND if they saved all the tracks, AND if the editing was done in multi format, not bounced down to stereo as most are, almost any project can be fixed or saved with a remix. One hurdle is that the main emgineer will rarely consent, and here is where some leaning is in order :) If they edited it in stereo, it can still be done by tabulating the edit points and redoing the project--a much bigger job, but still doable. Always multitrack, always keep the tracks. dt At 11:35 AM 3/30/2010, you wrote: I am having some confusion about the reportedly bad sound on POD's latest CD. The feeling being poor Paul, he deserves the best and look what some club-eared engineer has done to him. Does Paul not have some input into things like the sound of his recording? Joseph Mayes On 3/30/10 2:25 PM, David Tayler vidan...@sbcglobal.net wrote: Is there a one stop shopping for for Aquila's music scores? I'm in a buying mood. Sorry about the CD sound, I guess there are no refunds. I suppose we could send a group letter, making it very clear of course that the engineering is the issue, and that Paul deserves the best. dt At 07:05 AM 3/29/2010, you wrote: Here the recording is in a castle, not in a church, near the city of Aquila, Italy. But there was perhaps more suitable rooms in the castle ? It's a pity because Dall'Aquila's music is beautiful(and Paul's playing too) V. -Message d'origine- De : Monica Hall [mailto:mjlh...@tiscali.co.uk] Envoyé : lundi 29 mars 2010 15:56 À : Valéry Sauvage Cc : Lutelist Objet : Re: [LUTE] Re: CD Dall'Aquila I agree with you. I listened to a few tracks and was appalled. It's as if they had recorded it in the local swimming baths. There is this tendency to use churches for recording this repertoire - possibly because churches (in England at least) charge less than other venues. Most of them are completely inappropriate and unsuitable. What a shame for Paul. Monica - Original Message - From: Valéry Sauvage sauvag...@orange.fr To: lute@cs.dartmouth.edu Sent: Monday, March 29, 2010 1:42 PM Subject: [LUTE] Re: CD Dall'Aquila It seems to me the CD is worst (but I'm listenint to the web page on a computer with poor speakers cutting high frequencies) CD, on a good hifi player, treble are really agressive. Like if it was played on a metal strung instrument (but not a soft orpharion, Alas...) and also a cathedral effect, like a bad computer reverb effect. But I would like others opinion if some had the CD (On the French list there is another bad opinion) V. -Message d'origine- De : Andrew White Envoyé : lundi 29 mars 2010 13:57 À : Valery Sauvage Objet : Re: [LUTE] CD Dall'Aquila Val, Does the CD sound better, worse of the same as the tracks on the webpage? http://www.harmoniamundi.com/#/albums?view=playlistsid=1456 It sounds to me like the microphone is at the back of a hall Andrew On 29/03/2010, at 9:03 PM, Valery Sauvage wrote: I just receive the
[LUTE-BUILDER]
I have two questions -both related to Robert Lundberg's book on Historical Lute Construction - that perhaps some of you veteran lute builders can comment on. First. In his Practicum 1, he shows the steps to making a lute mould. The last photo in this chapter shows a mould completely smooth and rounded. No mention is made regarding placing facets/flats corresponding to the ribs which will later be assembled on it. In subsequent chapters, moulds are shown with what appears to be the facets constructed on the mould. Is facet/no facet an option based on preference? I can think of possible advantages to either, but I have no actual experience to know. Any thoughts? Second. Does anyone know where templates for floral inlay (such as on a neck) can be obtained? I would like to try this type of inlay, but don't think I'm artistic enough to create my own. Thanks for your thoughts! -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE-BUILDER] Re:
Hi Paul, Ted Woodford here. As a relative newcomer to the lute-building game myself, I've noticed a few of those little omissions in the Lundberg book. You will definitely want facets. Unless you are building a multirib with 27+ ribs, you will find that getting the angles to mate is nearly impossible without losing alignment. I spent a week observing Grant Tomlinson at the Lute Society symposium in Vancouver a couple of years ago, and it really opened my eyes. It's a serious mystery how Lundberg managed such tight-fitting joints using the rough-and-ready rabbet plane and file technique he demonstrates, while at the same time cranking out 20+ instruments a year. Another byproduct of his technique is that you end up cutting your mold up quite a bit, which is disheartening after spending a few days carving it to perfection. Tomlinson, and many other builders use a planing board to keep their lines straight. This really helps when making historically accurate bowls that deviate substantially from hemispherical. You can see pictures of mine on my new blog www.woodfordinstruments.com It's just a handplane suspended upside down in a recess carefully cut from a double layer of melamine shelving material purchased at the local home center. Some hints: 1.Try cutting your mold through the cross-sections transfered from the plan and tracing the shape of the bowl onto them. You can bandsaw or carve the facets into the block to give you a guideline. Travis Carey (www.traviscareylutes.ca) presented an excellent paper on this technique at one of the symposia. He may be able to send you a copy if you ask nicely. (He's a friendly fellow and an excellent luthier). 2. Use a flexible rule or one of those bendy blue drafting curves to mark out where your facets should be on the surface of your precarved mold (in the state where Lundberg leaves you). Make these lines as straight as you possibly can. You will use them as visual guidance when planing your ribs to fit. 3. Don't make the facets flat. Dish them slightly using a curved scraper. If there is anything like a hump the rib will be held above its intended location and you will find yourself cursing as you try to contort your rib to fit, or you'll find that your bowl bulges oddly. 4. Make certain you use a flexible pallette knife to free the bowl from the form after every rib or two! As for inlay designs, Dover has a huge catalog of clip-art, including celtic and floral stuff . www.doverpublications.com Hope this helps! Feel free to send any other questions. Ted - Original Message - From: Paul Daverman daverman.p...@sbcglobal.net To: lute-buil...@cs.dartmouth.edu Sent: Tuesday, March 30, 2010 9:35 PM Subject: [LUTE-BUILDER] I have two questions -both related to Robert Lundberg's book on Historical Lute Construction - that perhaps some of you veteran lute builders can comment on. First. In his Practicum 1, he shows the steps to making a lute mould. The last photo in this chapter shows a mould completely smooth and rounded. No mention is made regarding placing facets/flats corresponding to the ribs which will later be assembled on it. In subsequent chapters, moulds are shown with what appears to be the facets constructed on the mould. Is facet/no facet an option based on preference? I can think of possible advantages to either, but I have no actual experience to know. Any thoughts? Second. Does anyone know where templates for floral inlay (such as on a neck) can be obtained? I would like to try this type of inlay, but don't think I'm artistic enough to create my own. Thanks for your thoughts! -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Early music workshops
As a workshop goer, make sure you go to one per year, and go to a different one every year. Everyone should go to Amherst once, and BPI as well if you are interested in Baroque music. The larger workshops--it is easy to get lost in them, so try to go to some smaller ones as well. I don't think you can learn continuo in a workshop, it is too big a subject, but it can be fun to dive in anyway. Classes at workshops that you often can't get anywhere else that are worth taking are things like early notation classes. As a lute player, it is often a good idea to take a beginning voice class as well. dt At 02:11 PM 3/30/2010, you wrote: I'm considering summer workshops on the East coast that would offer mixed ensemble playing opportunities for lutenists. Has anyone here attended the Amherst summer workshop, and recommends it? Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
