[LUTE] Re: Rewarding Renaissance Lute repertoire

[Edward C. Yong]

   My vote goes to F. da Milano. When I first took up lute, I was crazy
   about Dowland and the English circle - they had very catchy melodies.
   Now, 23 years later, I find myself drawn to the polyphony of da Milano
   and the earlier composers. There's an intricacy that's very satisfying
   - the quiet delicacy and elegance has me hooked.

   On 5 December 2017 at 04:18, Tristan von Neumann
   <[1]tristanvonneum...@gmx.de> wrote:

 Here's a poll for Renaissance Lutists -
 what do you consider most rewarding to play in terms of playability
 combined with beauty?
 So far, I love Francesco da Milano and most anonymous pieces from
 the Siena Ms., they never get tiresome and lie gently on the hands.
 Also Hans Neusiedler and Luis Milan.
 Not in this category: Albert de Rippe. Amazing music, but honestly,
 did this guy have six fingers on each hand??
 What are your favourites? Is there any obscure repertoire to
 discover?
 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:tristanvonneum...@gmx.de
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Jurgen Frenz]

   You may check Gerbode's Excel file and sort it by difficulty. He has
   ratings of 1...6 and sometimes they are _very_ subjective but it may
   help to get an idea of the degree of challenge of the individual piece.

   Jurgen

   --
   "There is a voice that doesn't use words. Listen."

   JalÄl ad-DÄ«n Muhammad Rumi

    Original Message 

   Subject: [LUTE] Re: Rewarding Renaissance Lute repertoire

   Local Time: 5 December 2017 3:41 AM

   UTC Time: 4 December 2017 20:41

   From: brai...@osu.edu

   To: lutelist Net 

   I love the vihuelists (especially Narvaez and Mudarra: I see you've
   already listed one [Milan]). Among the unsung (or at least less-often
   sung), I'm particularly fond of Valentin Bakfark. Bakfark may be a
   little more on the challenging side, but not so much as Melchior
   Neusidler.
   Carry on,
   Eugene
   -Original Message-
   From: [1]lute-...@cs.dartmouth.edu
   [[2]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Tristan von Neumann
   Sent: Monday, December 04, 2017 3:18 PM
   To: lutelist Net
   Subject: [LUTE] Rewarding Renaissance Lute repertoire
   Here's a poll for Renaissance Lutists -
   what do you consider most rewarding to play in terms of playability
   combined with beauty?
   So far, I love Francesco da Milano and most anonymous pieces from the
   Siena Ms., they never get tiresome and lie gently on the hands.
   Also Hans Neusiedler and Luis Milan.
   Not in this category: Albert de Rippe. Amazing music, but honestly, did
   this guy have six fingers on each hand??
   What are your favourites? Is there any obscure repertoire to discover?
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:lute-...@cs.dartmouth.edu
   2. mailto:lute-...@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Mandolino versus Mandola

[Braig, Eugene]

I had used a word that the listserv's robot flags as a request instead of a 
message.  Here remedied with far more words than necessary.

Eugene


-Original Message-
From: Braig, Eugene 
Sent: Monday, December 04, 2017 7:39 PM
To: Lutelist
Subject: RE: [LUTE] Re: Mandolino versus Mandola

I'm also quite excited to see this article, Davide, but back issues don't 
appear to be available for sale yet, and my university doesn't [pay a fee to 
periodically receive editions of] the British journal.

Some sources attest to the (largely) interchangeable nature of the terms, and 
some attest to "mandola" referring to generally larger instruments (e.g., in 
both cases, Herre, Susanne. 2012. The mandolin in relation to the lute: a 
historical survey. Lute News 104:9–23.  In the latter case, Morey, Stephen. 
1993. Mandolins of the 18th Century. Editrice Turris, Cremona.  Etc.).  I've 
seen Orlandi write in at least one place (I don't recall which, but can look 
for the reference if you're really curious) that "mandola" may have simply 
referred to the addition of the sixth course (i.e., g) as it was becoming more 
common following a five-course-dominated tradition.  That may be implied by the 
Dalla Casa manuscript which gives a "mandolino" tuning in five courses (i.e., 
b, e', a', d'', g'') and several works for "mandolino" in that range, but that 
also features a "Suonata con Grave" for "mandola" with the melody line 
descending below.  Etc.  . . .  But you've already touched on all !
 those possibilities, and I suspect from the same sources that I cite here (as 
well as a couple others), Alain.

However, I don't want to weigh too heavily upon this topic until I've seen what 
Davide has recently published.

Best,
Eugene


-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of 
Alain Veylit
Sent: Sunday, December 03, 2017 1:17 PM
To: Davide Rebuffa
Cc: Lutelist
Subject: [LUTE] Re: Mandolino versus Mandola

Thank you Davide,

I have read this one: "A Partita by Filippo Sauli, theorbo and mandolin player 
to the Habsburgs Courtin Wien"  with much interest and I am sure your article 
in Lute news would be answering some of my questions. I am not sure however 
that I will be able to get a copy in the near future.


On 12/03/2017 09:41 AM, Davide Rebuffa wrote:
> Dear Alain,
> perhaps it may help you reading my article (The mandolino in the 17th and 
> 18th centuries), recently published by the Lute Society: LUTE NEWS Number 123 
> - October 2017.
>
> Best wishes,
> Davide
>
>
>
>
>
>
>
>
>
>> Il giorno 03 dic 2017, alle ore 17:38, Alain Veylit 
>>  ha scritto:
>>
>> Does anyone know what exact differences existed between the mandolino and 
>> the mandola in the 18th century? Were the two terms really interchangeable? 
>> Was the mandola just a mandolino with one added bass course? Did they share 
>> a common tuning and playing technique?
>>  From what I gather from searching the WEB, the answer to those questions 
>> would be yes, but I am still puzzled and would like to have the opinion of 
>> mandolino/mandola players and instrument makers if at all possible. And 
>> maybe also linguists: why two words?
>> Thanks in advance,
>> Alain
>> PS: I have read James Tyler's article on the mandolino in Early Music, 1981, 
>> but don't have a copy of his book  "The early mandolin".
>>
>>
>>
>> To get on or off this list see list information at 
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
> --

[LUTE] Re: unwound Synthetic CD basses for long diapasons: make it sense?

[John Mardinly]

   Don't be a fascist. Let people use the strings they want.

   A. John Mardinly, Ph.D., P.E.
   Classical Guitarist/Lutenist

   On Dec 4, 2017, at 12:50 PM, Bruno Cognyl-Fournier
   <[1]fournier...@gmail.com> wrote:

 Hi Mimmo
 Totally agree with you.   I don,t see the point in playing archlute
   and
 theorbo if its to make it sound as loud as and electric guitar. the
 loaded strings work well for regular lutes. The whole point of the
 loaded nylgut is to try and reproduce the sound of a gut string that
 would have possibly been loaded for the short necks.
 Bruno
 2017-12-04 3:07 GMT-05:00 Mimmo - Aquila Corde Armoniche
 <[1][2]mperu...@aquilacorde.com>:
   Hello,
   Some are telling me to produce longer CD strings for the long
   theorbo diapasons.
   Actually, I have some strong doubts: the tonal balance with the
   fretted strings will became even worse; the sound, in general, will
   became too bright and 'modern'.
   The risk is that we will lost the sense of the 'fondamento', whose
   sound should imitate the human voice and be dark, not too
   brilliant.
   I know: many performers already uses long wound strings; at the
   same
   time we know that the extended necks were introduced to accomodate
   plain gut strings, not for denser gut/synthetic version of it or
   even wound strings.
   Actually, I would like to stay in the direction that can make of
   support of the traditional Lute/theorbo sound, not in the direction
   to destroy it making a sort of... elettric chitarrone (Lol).
   Maybe things can be different if we are specking of these special
   kind of invented short neck theorboes   that are today whidely in
   use when one must take a fly. We know how hard is to fly with a
   standard theorbo.
   These instruments has only an option that work: wound strings.
   Making a longer CD for this kind of instruments can be maybe a good
   option?
   Maybe making them of 1,40 cms max so one cannot install them on the
   'real' theorboes...
   Guys, which is you opinion?
   Mimmo Peruffo
   To get on or off this list see list information at
   [2][3]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.da
   rtmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29SRQus
   p9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90
   E=5QyKWBDPwQwSjpPw7i_Lv4djb1Jwuddbm4Gqb0h-t30=4TNA5TQaMkWvIOzioAVGc
   8r8phUSgV3RajUycqj-oqA=
 --
   References
 1. [4]mailto:mperu...@aquilacorde.com
 2.
   [5]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
   .edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29SRQusp9vYR0n
   1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=5Qy
   KWBDPwQwSjpPw7i_Lv4djb1Jwuddbm4Gqb0h-t30=4TNA5TQaMkWvIOzioAVGc8r8phUS
   gV3RajUycqj-oqA=

References

   1. mailto:fournier...@gmail.com
   2. mailto:mperu...@aquilacorde.com
   3. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=5QyKWBDPwQwSjpPw7i_Lv4djb1Jwuddbm4Gqb0h-t30=4TNA5TQaMkWvIOzioAVGc8r8phUSgV3RajUycqj-oqA=
   4. mailto:mperu...@aquilacorde.com
   5. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=5QyKWBDPwQwSjpPw7i_Lv4djb1Jwuddbm4Gqb0h-t30=4TNA5TQaMkWvIOzioAVGc8r8phUSgV3RajUycqj-oqA=

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Jacob Johnson]

Dowland or gtfo lol

   Jacob Johnson
   [uc?export=downloadid=0B6_gM3BRE6ZrYVVZZU5QNmJqdDQrevid=0B6_g
   M3BRE6ZraW9nQ2U4SGNwV0tYVWxobnNBVjBsZi9FNHhzPQ]
   Guitar/Lute
   [1]www.johnsonguitarstudio.com
   469.237.0625.
   On Mon, Dec 4, 2017 at 6:03 PM, Lynda Kraar
   <[2]guitargirl4scrab...@cs.dartmouth.edu> wrote:

 Any links to tabs, manuscripts or YouTube vids you can suggest?
 Lynda Kraar

   > On Dec 4, 2017, at 6:51 PM, Leonard Williams <[3]arc...@verizon.net>
   wrote:
   >
   > Spinacino, da Milano, Dick Hoban's collection from the Siena MS, ML
   Book.
   > Does anyone play much of Bossinensis?It seems that most of his
   > recercari are exercises.
   >
   > Leonard
   >
   >
   > Sorry if you got this twice!
   >
   >
   >
   > On 12/4/17, 3:18 PM, "Tristan von Neumann"
   <[4]lute-...@cs.dartmouth.edu on
   > behalf of [5]tristanvonneum...@gmx.de> wrote:
   >
   >> Here's a poll for Renaissance Lutists -
   >>
   >> what do you consider most rewarding to play in terms of playability
   >> combined with beauty?
   >> So far, I love Francesco da Milano and most anonymous pieces from
   the
   >> Siena Ms., they never get tiresome and lie gently on the hands.
   >> Also Hans Neusiedler and Luis Milan.
   >> Not in this category: Albert de Rippe. Amazing music, but honestly,
   did
   >> this guy have six fingers on each hand??
   >>
   >> What are your favourites? Is there any obscure repertoire to
   discover?
   >>
   >>
   >>
   >> To get on or off this list see list information at
   >> [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >
   >

   --

References

   1. http://www.johnsonguitarstudio.com/
   2. mailto:guitargirl4scrab...@cs.dartmouth.edu
   3. mailto:arc...@verizon.net
   4. mailto:lute-...@cs.dartmouth.edu
   5. mailto:tristanvonneum...@gmx.de
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[John Mardinly]

   A second for Molinaro, but what about Dowland, Byrd and Holborne,
   especially now that Holborne is the ONLY renaissance composer to make
   it to interstellar space! (Fairie Rownde is on the Golden Record aboard
   the Voyager spacecraft, now 12 billion miles from earth, traveling at
   38,000 miles per hour.)

   [1]https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/music
   /

   A. John Mardinly, Ph.D., P.E.
   Classical Guitarist/Lutenist

   On Dec 4, 2017, at 4:24 PM, Dan Winheld <[2]dwinh...@lmi.net> wrote:

   All good faves so far. The ones I love & and haven't been named yet
   are  Simone Molinaro and his uncle Giovanni Battista dalla Gostena.
   Fantasias of Terzi'really aren't all that daunting if you approach them
   calmly, without fear, and go slowly at first. Same can be said in
   regard to Albert de Rippe. And let's not forget Giacomo Gorzanis. Some
   repetitiveness and a little sloppy here and there, but when he rocks he
   rocks.  And, painful or not, Mel Newsidler is well worth the effort.
   Even if one can't get his most challenging ball-breakers up to speed,
   it will improve your range & grasp of fingering to work his stuff
   seriously.
   And one of our most prolific composers, the man (or woman) of a
   thousand faces and more than human lifespan- Anonymous!
   On 12/4/2017 1:54 PM, Sean Smith wrote:

 I'm currently partial to the intabulators who took on the work of
 Archadelt. There's Vindella's all Acadelt book (1546), the many
 variations of "Quand'io pens'al martir" and even the chansons for
 voice and renaissance guitar (A. LeRoy, Cinqiesme Livre). And
 Crecquillon, non Papa, Pathie, deRore, Lasso and ….
 .. who am I kidding? I enjoy most all the vocal pieces set for lute.
 Ok, all the ones I can play, anyway. Phalese ('63, '68) and Paladin
 sometimes stay on the stand for months.
 Sean
 ps, Tristan, there's a nice Pathie set by the mysterious B.M. in
 Siena.

 On Dec 4, 2017, at 12:18 PM, Tristan von Neumann
 <[3]tristanvonneum...@gmx.de> wrote:
 Here's a poll for Renaissance Lutists -
 what do you consider most rewarding to play in terms of playability
 combined with beauty?
 So far, I love Francesco da Milano and most anonymous pieces from
 the Siena Ms., they never get tiresome and lie gently on the hands.
 Also Hans Neusiedler and Luis Milan.
 Not in this category: Albert de Rippe. Amazing music, but honestly,
 did this guy have six fingers on each hand??
 What are your favourites? Is there any obscure repertoire to
 discover?
 To get on or off this list see list information at
 [4]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmo
 uth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIFaQ=l45AxH-kUV29SRQusp
 9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt
 90E=Z43YL-Th1Q3TQfDu132TNeosYKe8r_wES7jqa7LuBKM=nuUCMe5Vi2aGppOQ
 WetWW5J6blV980gYn7zGeKkDpBc=

References

   1. https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/music/
   2. mailto:dwinh...@lmi.net
   3. mailto:tristanvonneum...@gmx.de
   4. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIFaQ=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=Z43YL-Th1Q3TQfDu132TNeosYKe8r_wES7jqa7LuBKM=nuUCMe5Vi2aGppOQWetWW5J6blV980gYn7zGeKkDpBc=

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Lynda Kraar]

Any links to tabs, manuscripts or YouTube vids you can suggest?
Lynda Kraar


> On Dec 4, 2017, at 6:51 PM, Leonard Williams  wrote:
> 
> Spinacino, da Milano, Dick Hoban's collection from the Siena MS, ML Book.
> Does anyone play much of Bossinensis?   It seems that most of his
> recercari are exercises.
> 
> Leonard
> 
> 
> Sorry if you got this twice!
> 
> 
> 
> On 12/4/17, 3:18 PM, "Tristan von Neumann"  behalf of tristanvonneum...@gmx.de> wrote:
> 
>> Here's a poll for Renaissance Lutists -
>> 
>> what do you consider most rewarding to play in terms of playability
>> combined with beauty?
>> So far, I love Francesco da Milano and most anonymous pieces from the
>> Siena Ms., they never get tiresome and lie gently on the hands.
>> Also Hans Neusiedler and Luis Milan.
>> Not in this category: Albert de Rippe. Amazing music, but honestly, did
>> this guy have six fingers on each hand??
>> 
>> What are your favourites? Is there any obscure repertoire to discover?
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 
> 

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Leonard Williams]

Spinacino, da Milano, Dick Hoban's collection from the Siena MS, ML Book.
Does anyone play much of Bossinensis?   It seems that most of his
recercari are exercises.

Leonard


Sorry if you got this twice!



On 12/4/17, 3:18 PM, "Tristan von Neumann"  wrote:

>Here's a poll for Renaissance Lutists -
>
>what do you consider most rewarding to play in terms of playability
>combined with beauty?
>So far, I love Francesco da Milano and most anonymous pieces from the
>Siena Ms., they never get tiresome and lie gently on the hands.
>Also Hans Neusiedler and Luis Milan.
>Not in this category: Albert de Rippe. Amazing music, but honestly, did
>this guy have six fingers on each hand??
>
>What are your favourites? Is there any obscure repertoire to discover?
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Dan Winheld]

Hey- Marco Dall Aquila! A giant among faves, and of course Capirola. And 
in the "Intabolatura de Leuto de Diversi Autori" of Castelioni we also 
have 2 magnificent, intriguingly mysterious fantasias by the once famed 
gambist & lutenist Jacobo Albutio.


Dan

On 12/4/2017 3:24 PM, Dan Winheld wrote:
All good faves so far. The ones I love & and haven't been named yet 
are  Simone Molinaro and his uncle Giovanni Battista dalla Gostena. 
Fantasias of Terzi'really aren't all that daunting if you approach 
them calmly, without fear, and go slowly at first. Same can be said in 
regard to Albert de Rippe. And let's not forget Giacomo Gorzanis. Some 
repetitiveness and a little sloppy here and there, but when he rocks 
he rocks.  And, painful or not, Mel Newsidler is well worth the 
effort. Even if one can't get his most challenging ball-breakers up to 
speed, it will improve your range & grasp of fingering to work his 
stuff seriously.


And one of our most prolific composers, the man (or woman) of a 
thousand faces and more than human lifespan- Anonymous!


On 12/4/2017 1:54 PM, Sean Smith wrote:
I’m currently partial to the intabulators who took on the work of 
Archadelt. There's Vindella’s all Acadelt book (1546), the many 
variations of “Quand’io pens’al martir” and even the chansons for 
voice and renaissance guitar (A. LeRoy, Cinqiesme Livre). And 
Crecquillon, non Papa, Pathie, deRore, Lasso and ….


.. who am I kidding? I enjoy most all the vocal pieces set for lute. 
Ok, all the ones I can play, anyway. Phalese (’63, ’68) and Paladin 
sometimes stay on the stand for months.


Sean

ps, Tristan, there’s a nice Pathie set by the mysterious B.M. in Siena.




On Dec 4, 2017, at 12:18 PM, Tristan von Neumann 
 wrote:


Here's a poll for Renaissance Lutists -

what do you consider most rewarding to play in terms of playability 
combined with beauty?
So far, I love Francesco da Milano and most anonymous pieces from 
the Siena Ms., they never get tiresome and lie gently on the hands.

Also Hans Neusiedler and Luis Milan.
Not in this category: Albert de Rippe. Amazing music, but honestly, 
did this guy have six fingers on each hand??


What are your favourites? Is there any obscure repertoire to discover?



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Dan Winheld]

All good faves so far. The ones I love & and haven't been named yet are  
Simone Molinaro and his uncle Giovanni Battista dalla Gostena. Fantasias 
of Terzi'really aren't all that daunting if you approach them calmly, 
without fear, and go slowly at first. Same can be said in regard to 
Albert de Rippe. And let's not forget Giacomo Gorzanis. Some 
repetitiveness and a little sloppy here and there, but when he rocks he 
rocks.  And, painful or not, Mel Newsidler is well worth the effort. 
Even if one can't get his most challenging ball-breakers up to speed, it 
will improve your range & grasp of fingering to work his stuff seriously.


And one of our most prolific composers, the man (or woman) of a thousand 
faces and more than human lifespan- Anonymous!


On 12/4/2017 1:54 PM, Sean Smith wrote:

I’m currently partial to the intabulators who took on the work of Archadelt. 
There's Vindella’s all Acadelt book (1546), the many variations of “Quand’io 
pens’al martir” and even the chansons for voice and renaissance guitar (A. 
LeRoy, Cinqiesme Livre). And Crecquillon, non Papa, Pathie, deRore, Lasso and ….

.. who am I kidding? I enjoy most all the vocal pieces set for lute. Ok, all 
the ones I can play, anyway. Phalese (’63, ’68) and Paladin sometimes stay on 
the stand for months.

Sean

ps, Tristan, there’s a nice Pathie set by the mysterious B.M. in Siena.





On Dec 4, 2017, at 12:18 PM, Tristan von Neumann  
wrote:

Here's a poll for Renaissance Lutists -

what do you consider most rewarding to play in terms of playability combined 
with beauty?
So far, I love Francesco da Milano and most anonymous pieces from the Siena 
Ms., they never get tiresome and lie gently on the hands.
Also Hans Neusiedler and Luis Milan.
Not in this category: Albert de Rippe. Amazing music, but honestly, did this 
guy have six fingers on each hand??

What are your favourites? Is there any obscure repertoire to discover?



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Sean Smith]

I’m currently partial to the intabulators who took on the work of Archadelt. 
There's Vindella’s all Acadelt book (1546), the many variations of “Quand’io 
pens’al martir” and even the chansons for voice and renaissance guitar (A. 
LeRoy, Cinqiesme Livre). And Crecquillon, non Papa, Pathie, deRore, Lasso and ….

.. who am I kidding? I enjoy most all the vocal pieces set for lute. Ok, all 
the ones I can play, anyway. Phalese (’63, ’68) and Paladin sometimes stay on 
the stand for months.  

Sean

ps, Tristan, there’s a nice Pathie set by the mysterious B.M. in Siena. 




> On Dec 4, 2017, at 12:18 PM, Tristan von Neumann  
> wrote:
> 
> Here's a poll for Renaissance Lutists -
> 
> what do you consider most rewarding to play in terms of playability combined 
> with beauty?
> So far, I love Francesco da Milano and most anonymous pieces from the Siena 
> Ms., they never get tiresome and lie gently on the hands.
> Also Hans Neusiedler and Luis Milan.
> Not in this category: Albert de Rippe. Amazing music, but honestly, did this 
> guy have six fingers on each hand??
> 
> What are your favourites? Is there any obscure repertoire to discover?
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[G. C.]

   The renaissance repertoire is such a many facetted thing. How could you
   settle on just ONE composer. And pls. don't forget the Golden Age
   repertory, one of its highlights!
   G.

   --


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[LUTE] Re: Rewarding Renaissance Lute repertoire

[Jean-Marie Poirier]

Da Milano for sure but also Vallet for me and most of the transitional tunings 
repertoire (Mesangeau, Dufaut, Bouvier, Chancy)

Jean-Marie


--
 
>Here's a poll for Renaissance Lutists -
>
>what do you consider most rewarding to play in terms of playability 
>combined with beauty?
>So far, I love Francesco da Milano and most anonymous pieces from the 
>Siena Ms., they never get tiresome and lie gently on the hands.
>Also Hans Neusiedler and Luis Milan.
>Not in this category: Albert de Rippe. Amazing music, but honestly, did 
>this guy have six fingers on each hand??
>
>What are your favourites? Is there any obscure repertoire to discover?
>
>
>
>To get on or off this list see list information at
>http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Rewarding Renaissance Lute repertoire

[Braig, Eugene]

I love the vihuelists (especially Narvaez and Mudarra: I see you've already 
listed one [Milan]).  Among the unsung (or at least less-often sung), I'm 
particularly fond of Valentin Bakfark.  Bakfark may be a little more on the 
challenging side, but not so much as Melchior Neusidler.

Carry on,
Eugene


-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of 
Tristan von Neumann
Sent: Monday, December 04, 2017 3:18 PM
To: lutelist Net
Subject: [LUTE] Rewarding Renaissance Lute repertoire

Here's a poll for Renaissance Lutists -

what do you consider most rewarding to play in terms of playability combined 
with beauty?
So far, I love Francesco da Milano and most anonymous pieces from the Siena 
Ms., they never get tiresome and lie gently on the hands.
Also Hans Neusiedler and Luis Milan.
Not in this category: Albert de Rippe. Amazing music, but honestly, did this 
guy have six fingers on each hand??

What are your favourites? Is there any obscure repertoire to discover?



To get on or off this list see list information at 
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Rewarding Renaissance Lute repertoire

[Tristan von Neumann]

Here's a poll for Renaissance Lutists -

what do you consider most rewarding to play in terms of playability 
combined with beauty?
So far, I love Francesco da Milano and most anonymous pieces from the 
Siena Ms., they never get tiresome and lie gently on the hands.

Also Hans Neusiedler and Luis Milan.
Not in this category: Albert de Rippe. Amazing music, but honestly, did 
this guy have six fingers on each hand??


What are your favourites? Is there any obscure repertoire to discover?



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: unwound Synthetic CD basses for long diapasons: make it sense?

[Bruno Cognyl-Fournier]

   Hi Mimmo
   Totally agree with you.   I don,t see the point in playing archlute and
   theorbo if its to make it sound as loud as and electric guitar. the
   loaded strings work well for regular lutes. The whole point of the
   loaded nylgut is to try and reproduce the sound of a gut string that
   would have possibly been loaded for the short necks.
   Bruno

   2017-12-04 3:07 GMT-05:00 Mimmo - Aquila Corde Armoniche
   <[1]mperu...@aquilacorde.com>:

 Hello,
 Some are telling me to produce longer CD strings for the long
 theorbo diapasons.
 Actually, I have some strong doubts: the tonal balance with the
 fretted strings will became even worse; the sound, in general, will
 became too bright and 'modern'.
 The risk is that we will lost the sense of the 'fondamento', whose
 sound should imitate the human voice and be dark, not too brilliant.
 I know: many performers already uses long wound strings; at the same
 time we know that the extended necks were introduced to accomodate
 plain gut strings, not for denser gut/synthetic version of it or
 even wound strings.
 Actually, I would like to stay in the direction that can make of
 support of the traditional Lute/theorbo sound, not in the direction
 to destroy it making a sort of... elettric chitarrone (Lol).
 Maybe things can be different if we are specking of these special
 kind of invented short neck theorboes   that are today whidely in
 use when one must take a fly. We know how hard is to fly with a
 standard theorbo.
 These instruments has only an option that work: wound strings.
 Making a longer CD for this kind of instruments can be maybe a good
 option?
 Maybe making them of 1,40 cms max so one cannot install them on the
 'real' theorboes...
 Guys, which is you opinion?
 Mimmo Peruffo
 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:mperu...@aquilacorde.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: unwound Synthetic CD basses for long diapasons: make it sense?

[Martin Shepherd]

Just to say that my theorbo (86/164cm) still has its original gut 
basses, still sounding good - I made it in 1996.


Martin

On 04/12/2017 10:41, David van Ooijen wrote:

Long theoorbe/archlute basses always plain gut. I see no argument for
anything else, and I hear no improvement in sound with anything else. I
have a travelling archlute with 110cm (or about) basses, and even there
plain gut stil gets me a decent low G.
David

***
David van Ooijen
[1]davidvanooi...@gmail.com
[2]www.davidvanooijen.nl
***
On 4 December 2017 at 09:07, Mimmo - Aquila Corde Armoniche
<[3]mperu...@aquilacorde.com> wrote:

  Hello,
  Some are telling me to produce longer CD strings for the long
  theorbo diapasons.
  Actually, I have some strong doubts: the tonal balance with the
  fretted strings will became even worse; the sound, in general, will
  became too bright and 'modern'.
  The risk is that we will lost the sense of the 'fondamento', whose
  sound should imitate the human voice and be dark, not too brilliant.
  I know: many performers already uses long wound strings; at the same
  time we know that the extended necks were introduced to accomodate
  plain gut strings, not for denser gut/synthetic version of it or
  even wound strings.
  Actually, I would like to stay in the direction that can make of
  support of the traditional Lute/theorbo sound, not in the direction
  to destroy it making a sort of... elettric chitarrone (Lol).
  Maybe things can be different if we are specking of these special
  kind of invented short neck theorboes   that are today whidely in
  use when one must take a fly. We know how hard is to fly with a
  standard theorbo.
  These instruments has only an option that work: wound strings.
  Making a longer CD for this kind of instruments can be maybe a good
  option?
  Maybe making them of 1,40 cms max so one cannot install them on the
  'real' theorboes...
  Guys, which is you opinion?
  Mimmo Peruffo
  To get on or off this list see list information at
  [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--

References

1. mailto:davidvanooi...@gmail.com
2. http://www.davidvanooijen.nl/
3. mailto:mperu...@aquilacorde.com
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html




---
This email has been checked for viruses by Avast antivirus software.
https://www.avast.com/antivirus

[LUTE] Re: unwound Synthetic CD basses for long diapasons: make it sense?

[David van Ooijen]

   Long theoorbe/archlute basses always plain gut. I see no argument for
   anything else, and I hear no improvement in sound with anything else. I
   have a travelling archlute with 110cm (or about) basses, and even there
   plain gut stil gets me a decent low G.
   David

   ***
   David van Ooijen
   [1]davidvanooi...@gmail.com
   [2]www.davidvanooijen.nl
   ***
   On 4 December 2017 at 09:07, Mimmo - Aquila Corde Armoniche
   <[3]mperu...@aquilacorde.com> wrote:

 Hello,
 Some are telling me to produce longer CD strings for the long
 theorbo diapasons.
 Actually, I have some strong doubts: the tonal balance with the
 fretted strings will became even worse; the sound, in general, will
 became too bright and 'modern'.
 The risk is that we will lost the sense of the 'fondamento', whose
 sound should imitate the human voice and be dark, not too brilliant.
 I know: many performers already uses long wound strings; at the same
 time we know that the extended necks were introduced to accomodate
 plain gut strings, not for denser gut/synthetic version of it or
 even wound strings.
 Actually, I would like to stay in the direction that can make of
 support of the traditional Lute/theorbo sound, not in the direction
 to destroy it making a sort of... elettric chitarrone (Lol).
 Maybe things can be different if we are specking of these special
 kind of invented short neck theorboes   that are today whidely in
 use when one must take a fly. We know how hard is to fly with a
 standard theorbo.
 These instruments has only an option that work: wound strings.
 Making a longer CD for this kind of instruments can be maybe a good
 option?
 Maybe making them of 1,40 cms max so one cannot install them on the
 'real' theorboes...
 Guys, which is you opinion?
 Mimmo Peruffo
 To get on or off this list see list information at
 [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/
   3. mailto:mperu...@aquilacorde.com
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: unwound Synthetic CD basses for long diapasons: make it sense?

[Martyn Hodgson]

   Dear Mimmo,
   I very much agree with you: if we are wishing to play early instruments
   and aim to recapture as far as possible the sounds the 'Old Ones'
   probably made and heard, then we ought generally to aim to use strings
   as close as possible to what they employed.
   I make a practical exception, however, by using your excellent nylgut
   for upper strings of lutes etc since, otherwise, I'd spend a small
   fortune on constantly replacing fingered gut strings as they break or
   go out of true!  Long theorbo basses don't have this problem and will
   usually last for many years - hence why I think we should still use gut
   for these particular strings
   Keep up the good work!
   regards,
   Martyn
 __

   From: Mimmo - Aquila Corde Armoniche 
   To: Lutelist 
   Sent: Monday, 4 December 2017, 8:09
   Subject: [LUTE] unwound Synthetic CD basses for long diapasons: make it
   sense?
   Hello,
   Some are telling me to produce longer CD strings for the long theorbo
   diapasons.
   Actually, I have some strong doubts: the tonal balance with the fretted
   strings will became even worse; the sound, in general, will became too
   bright and 'modern'.
   The risk is that we will lost the sense of the 'fondamento', whose
   sound should imitate the human voice and be dark, not too brilliant.
   I know: many performers already uses long wound strings; at the same
   time we know that the extended necks were introduced to accomodate
   plain gut strings, not for denser gut/synthetic version of it or even
   wound strings.
   Actually, I would like to stay in the direction that can make of
   support of the traditional Lute/theorbo sound, not in the direction to
   destroy it making a sort of... elettric chitarrone (Lol).
   Maybe things can be different if we are specking of these special kind
   of invented short neck theorboes  that are today whidely in use when
   one must take a fly. We know how hard is to fly with a standard
   theorbo.
   These instruments has only an option that work: wound strings. Making a
   longer CD for this kind of instruments can be maybe a good option?
   Maybe making them of 1,40 cms max so one cannot install them on the
   'real' theorboes...
   Guys, which is you opinion?
   Mimmo Peruffo
   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] unwound Synthetic CD basses for long diapasons: make it sense?

[Mimmo - Aquila Corde Armoniche]

Hello,
Some are telling me to produce longer CD strings for the long theorbo diapasons.
Actually, I have some strong doubts: the tonal balance with the fretted strings 
will became even worse; the sound, in general, will became too bright and 
'modern'. 
The risk is that we will lost the sense of the 'fondamento', whose sound should 
imitate the human voice and be dark, not too brilliant. 
I know: many performers already uses long wound strings; at the same time we 
know that the extended necks were introduced to accomodate plain gut strings, 
not for denser gut/synthetic version of it or even wound strings. 
Actually, I would like to stay in the direction that can make of support of the 
traditional Lute/theorbo sound, not in the direction to destroy it making a 
sort of... elettric chitarrone (Lol).

Maybe things can be different if we are specking of these special kind of 
invented short neck theorboes  that are today whidely in use when one must take 
a fly. We know how hard is to fly with a standard theorbo.
These instruments has only an option that work: wound strings. Making a longer 
CD for this kind of instruments can be maybe a good option?
Maybe making them of 1,40 cms max so one cannot install them on the 'real' 
theorboes...

Guys, which is you opinion?
Mimmo Peruffo



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html