[LUTE] BY THE SEA For Barqoue Guitar

[Gilbert Isbin]

   [1]https://www.youtube.com/watch?v=U8aRRkGvJRQ&feature=share

   With kind regards,

   Met vriendelijke groeten,

   Bien cordialement,
   Gilbert Isbin
   [2]www.gilbertisbin.com
   [3]gilbert.is...@gmail.com

   --

References

   1. https://www.youtube.com/watch?v=U8aRRkGvJRQ&feature=share
   2. http://www.gilbertisbin.com/
   3. mailto:gilbert.is...@gmail.com


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

[LUTE] Re: Corigniani

[Tristan von Neumann]

Unfortunately (again I am using that word today...) one cannot be sure.

Take the concertos of Albicastro, who was actually German.

Do they sound German or Italian? Sometimes it is hard to decide...

Stylistic analysis, sadly, cannot prove anything.

(@everyone:)

In case you don't already know them, consider this a recommendation.
Great music anyway.

https://www.youtube.com/watch?v=GgCTZ-7eCxY


On 21.06.19 21:53, Alain Veylit wrote:

Thanks Stephan,

Do you happen to know the source of this arrangement? The lute parts
seem pretty "native" to me and the music style "Italiate" -

Alain


On 6/21/19 10:04 AM, Stephan Olbertz wrote:

It is an arrangement, and a pseudonym seems very probable if you
attempt to track down this "Italian composer". I have a hunch... BTW,
there once have been two duets by Corigniani kept by Breitkopf.
Regards
Stephan

-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
Auftrag von Alain Veylit
Gesendet: Freitag, 21. Juni 2019 18:02
An: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Corigniani

There is a very nice concerto for 2 Baroque lutes and basso at the
Brussels Royal library by a mister (or mrs) Corigniani. Google turns up
very little on that composer, except that it may be a pseudonym for a
German composer. What is the rationale/research to doubt that Corigniani
was  Italian? Is there a notice for Corigniani in the latest Grove? Was
that concerto recorded using the original instruments?

Thanks for the tips,

Alain



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

[LUTE] Re: Instrument Buzz

[John Mardinly]

   Edward;

   My 1970 Rubio developed a terrible rattle internally due to detached
   bracing. Guitars routinely have bracing repaired through the sound
   hole, but lutes require removing the top. Major surgery, but it was
   done successfully on my lute. Good luck. My repair was done by Mel Wong
   in San Francisco.

   A. John Mardinly, Ph.D., P.E.

   On Jun 6, 2019, at 7:05 PM, Edward C. Yong <[1]edward.y...@gmail.com>
   wrote:

   Hi Daniel,
   The buzz has always been there as long as I've had the instrument.
   I've noticed the maker didn't remove the paper stencil(?) after carving
   out the rosette and closing the instrument, so the paper is still glued
   to the underside of the rosette. I'm wondering if that might be
   contributing to the buzz. Is it common for makers to keep that paper
   stencil/pattern on the instrument?
   Best,
   Edward

 On 21 May 2019, at 7:52 AM, Daniel Heiman
 <[2]heiman.dan...@juno.com> wrote:
 Edward:
 When did you start to notice the buzz?
 Was it always present as long as you have owned the instrument?
 Did it appear suddenly out of nowhere?
 Have you changed a string lately, and that is when the buzz started?
 Daniel
 -Original Message-
 From: [3]lute-...@cs.dartmouth.edu
 [[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of Matthew Daillie
 Sent: Monday, May 20, 2019 12:22 PM
 To: Edward C. Yong <[5]edward.y...@gmail.com>
 Cc: Lute List <[6]lute@cs.dartmouth.edu>
 Subject: [LUTE] Re: Instrument Buzz
 Sounds like it could be a loose bar or maybe an issue with the rose.
 Try holding the instrument with your fingers on the underside and
 with your thumb go round the edge of the soundboard applying a
 LITTLE pressure to see whether there are any noises of the
 soundboard moving against a bar (like a little click probably). You
 can also tap lightly on different areas of the top with the tip of
 your middle finger to see if there are any unwelcome noises.
 Obviously do this as gently as possible.
 Have you checked on the relative humidity? If you have a concert
 coming up and you think there is a loose bar, make sure the relative
 humidity is at least 50% (but no more than 65%) and this might
 resolve the issue temporarily.
 Best,
 Matthew

 On May 20, 2019, at 18:01, "Edward C. Yong"
 <[7]edward.y...@gmail.com> wrote:
 Hi everyone,
 A bit of buzz is driving me crazy. I have a renaissance guitar and
 there's a buzz that starts with the plucked note and dies down quite
 quickly.
 I've checked the bridge for any loose bits of string - nothing.
 I've checked the pegbox/peghead for loose buzzy strings - nothing.
 No possibility of frets being too high and buzzing, as the buzzing
 happens at all notes at all positions.
 I'm hoping it's not something beneath the soundboard that's loose
 and causing the buzz.
 It doesn't buzz when the instrument is flat, with the rose facing
 up. It buzzes when the instrument is in a playing position - with
 the rose facing sideways. It buzzes with the rose facing down.
 I'm on the verge of having this sent to the nearest luthier, but
 have
 a performance coming up. I just hope the audience won't be able to
 hear the subtle buzz, as we're not being amplified…
 Best,
 Edward
 To get on or off this list see list information at
 [8]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmo
 uth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DwIFaQ&c=l45AxH-kUV29SRQusp
 9vYR0n1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt
 90E&m=ygKsLc2OUpQjhhRUgTCOR5Grvb2h2JLCNWSfi5Lok3k&s=Mzh2XPos7rE0Tjjy
 iKx0rRkX03f0IwqU2Mxp8MQDWnA&e=

References

   1. mailto:edward.y...@gmail.com
   2. mailto:heiman.dan...@juno.com
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:lute-...@cs.dartmouth.edu
   5. mailto:edward.y...@gmail.com
   6. mailto:lute@cs.dartmouth.edu
   7. mailto:edward.y...@gmail.com
   8. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DwIFaQ&c=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=ygKsLc2OUpQjhhRUgTCOR5Grvb2h2JLCNWSfi5Lok3k&s=Mzh2XPos7rE0TjjyiKx0rRkX03f0IwqU2Mxp8MQDWnA&e=

[LUTE] Re: Julian Bream on Lute

[John Mardinly]

   Franz;

   Bream was the inspiration for me as well. He has described that he
   found Dolmetsch lutes totally unsatisfactory due to low tension strings
   and a lack of ‘response'. His Goff lute was built by a harpsichord
   maker from x-rays of a lute found in a museum, but he specified
   numerous modifications: nylon strings with a tension comparable to what
   his guitar was like, a saddle in the bridge and metal frets. Later, the
   concept was refined by David Rubio (650mm scale, same as most guitars).
   In 1970 I bought a Rubio lute, and as a guitarist who had studied the
   lute repertoire and tablature with Jerry Williard, I adapted to it
   fairly easily, with minor changes to nail length and shape. However,
   nobody makes lutes like this anymore, so if you really want the Bream
   sound (which IS a great sound), try to find a Rubio lute on the used
   instrument market or find a luthier that will custom make one for you.

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

   On Jun 19, 2019, at 8:49 AM, Franz Mechsner <[1]franz.mechs...@gmx.de>
   wrote:

 Thank you so much, Ron.
 Apart from my really deep admiration for Bream, I asked a very simple
 question: How did he get the marvellous sound and colors from a lute
 with his fingernails? Of course, some of the recordings sound
   somewhat
 sharp (though full of life), but some with a sound whose beauty
   brings
 me to tears (almost).
 When I myself try to play my lute with fingernails, the
 instrument answers with catastrophic screams: "No no, please stop
   this
 bad treatment of my delicate personality!".
 Apart from that all, sound production, colors, fine expression,
 atmosphere and sentiment on any instrument seems to me the most
 profound question you can ask about making music, rather than an all
 too naive stupid question of a beginner who - upon asking
 such questions - can easily be eaten for breakfeast by the guys 50
 years in the profession (or matter, in the case of lute).
 I actually woke up to the question with a piano teacher who promised
   to
 "connect you with the instrument" according to a method developed in
 the 1920th by a genial piano teacher called Elisabeth Caland. Her
 emphasis and focus was on back muscles, body centre and the like.
 Sounds good (I study Feldenkrais), but I wanted to know. I booked
 lessons with him, which were extremely eye- (or body-) opening. After
 more than half a year, I could clearliy realize that he has to teach
 something extremely important, clever and deep (and completely
 unexpected!) about sound production, but am still struggling how his
 marvellous sound is finanlly achieved. So the main lesson for me was:
 sound production is not at all a simple matter, and morover, not at
   all
 simple to teach and learn.
 My strong suspicion is, that there are analogous  secrets regarding
 sound and color on the lute and guitar I never came across. In this
 connection, I ask: What did Julian Bream find out about it (on lute
   and
 guitar) by teaching himself???
 My other suspicion, unfortunately fueled by my exciting experience
   with
 the mentioned extraordinary piano teacher, is that most musicians -
   not
 only pianists, but maybe even lutenists... :-) - have no idea how to
 achieve the best sound to move their own and other people's souls.
   Some
 players may be a natural talents, playing by following their ear,
 who don't know what they do with their body and instrument (this kind
 of people say: Julian Bream is good because he is excellent...), but
 some - and these are interesting for the rest of us - who are able to
 teach and tell.
 I am looking for wonderful touching sound, to improve in any way I am
 able to, pieces don't need to be complicated - is there anybody out
 there who would be ready to communicate off-list with me on the
 issue???
 Best regards, and I will not disturb you anymore with stupid
   questions
 Franz
 Dr. Franz Mechsner
 Zum Kirschberg 40
 D-14806 Belzig OT Borne
 +49(0)33841 441362
 [2]franz.mechs...@gmx.de
 Gesendet: Mittwoch, 19. Juni 2019 um 17:09 Uhr
 Von: "Ron Andrico" <[3]praelu...@hotmail.com>
 An: "Gary Boye" <[4]boy...@appstate.edu>, "Edward C. Yong"
 <[5]edward.y...@gmail.com>
 Cc: "Jurgen Frenz" <[6]eye-and-ear-cont...@protonmail.com>, "Lute
   List"
 <[7]lute@cs.dartmouth.edu>
 Betreff: [LUTE] Re: Julian Bream on Lute
 I feel I must add a word of support for Julian Bream and his many
 contributions to the current lute revival.
 As a 20th-century pioneering concert artist, Julian Bream first and
 foremost raised the lute from a quaint closet instrument, best suited
 to historians and eccentrics, to an instrument capable of musical
 expression that reached and communicated to

[LUTE] Re: Julian Bream on Lute

[terlizzi]

   In an Interview, Bream said he was knocked over by a neighbor's dog.

   Also, FYI, he has recently suffered a stroke and is in a wheelchair.

   Sent from AOL Mobile Mail
   Get the new AOL app: [1]mail.mobile.aol.com
   On Friday, June 21, 2019, John Mardinly  wrote:

   Left hand.

   A. John Mardinly, Ph.D., P.E.

   > On Jun 21, 2019, at 1:04 PM, John Mardinly <[2]john.mardi...@asu.edu>
   wrote:

   >

   > Several years ago, Bream injured the A finger of his last hand and
   can no longer play. I saw a photo in a guitar magazine that showed a
   finger swollen to twice the normal diameter. There was no mention of
   how the injury occurred.

   >

   > A. John Mardinly, Ph.D., P.E.

   >

   >

   >

   >

   >> On Jun 20, 2019, at 10:49 AM, Paul Overell <[3]p...@bayleaf.org.uk>
   wrote:

   >>

   >>

   >> On 19/06/2019 23:18, Susan Price wrote:

   >>>  I would like to point out that Julian Bream is still alive (born
   1933).

   >>>  He has always been my favorite guitarist. I often thought it was a
   real

   >>>  pity that he never played baroque lute.  That woulda been amazing.

   >>

   >> Julian Bream is also an honorary member of the (British) Lute
   Society,

   >> where, some years ago, he gave lute master classes to some of the

   >> members in front of an enthusiastic audience (standing room only).

   >>

   >> Regards

   >>

   >> --

   >> Paul Overell

   >>

   >>

   >>

   >> To get on or off this list see list information at

   >>
   [4]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
   .edu_-7Ewbc_lute-2Dadmin_index.html&d=DwICaQ&c=l45AxH-kUV29SRQusp9vYR0n
   1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=i66
   79wAJ8GNXT6L1_SDqv6tZLIkOlTomGTukYqDHzlY&s=D10EH96xcFJ2eVBlcUT7uFAXPP6j
   TkBmTOxb6R4I21U&e=

   >

   >

   >

   --

References

   1. http://mail.mobile.aol.com/
   2. mailto:john.mardi...@asu.edu
   3. mailto:p...@bayleaf.org.uk
   4. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DwICaQ&c=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=i6679wAJ8GNXT6L1_SDqv6tZLIkOlTomGTukYqDHzlY&s=D10EH96xcFJ2eVBlcUT7uFAXPP6jTkBmTOxb6R4I21U&e=

[LUTE] Re: Corigniani

[Alain Veylit]

Thanks Stephan,

Do you happen to know the source of this arrangement? The lute parts 
seem pretty "native" to me and the music style "Italiate" -


Alain


On 6/21/19 10:04 AM, Stephan Olbertz wrote:

It is an arrangement, and a pseudonym seems very probable if you attempt to track down 
this "Italian composer". I have a hunch... BTW, there once have been two duets 
by Corigniani kept by Breitkopf.
Regards
Stephan

-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag 
von Alain Veylit
Gesendet: Freitag, 21. Juni 2019 18:02
An: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Corigniani

There is a very nice concerto for 2 Baroque lutes and basso at the
Brussels Royal library by a mister (or mrs) Corigniani. Google turns up
very little on that composer, except that it may be a pseudonym for a
German composer. What is the rationale/research to doubt that Corigniani
was  Italian? Is there a notice for Corigniani in the latest Grove? Was
that concerto recorded using the original instruments?

Thanks for the tips,

Alain



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

[LUTE] Re: Julian Bream on Lute

[Franz Mechsner]

   In the movie it says it was an accident with a dog (his dog?)

   Dr. Franz Mechsner
   Zum Kirschberg 40
   D-14806 Belzig OT Borne
   +49(0)33841 441362
   franz.mechs...@gmx.de


   Gesendet: Freitag, 21. Juni 2019 um 22:06 Uhr
   Von: "John Mardinly" 
   An: "Paul Overell" 
   Cc: "Susan Price" , "lute@cs.dartmouth.edu"
   
   Betreff: [LUTE] Re: Julian Bream on Lute
   Left hand.
   A. John Mardinly, Ph.D., P.E.
   > On Jun 21, 2019, at 1:04 PM, John Mardinly 
   wrote:
   >
   > Several years ago, Bream injured the A finger of his last hand and
   can no longer play. I saw a photo in a guitar magazine that showed a
   finger swollen to twice the normal diameter. There was no mention of
   how the injury occurred.
   >
   > A. John Mardinly, Ph.D., P.E.
   >
   >
   >
   >
   >> On Jun 20, 2019, at 10:49 AM, Paul Overell 
   wrote:
   >>
   >>
   >> On 19/06/2019 23:18, Susan Price wrote:
   >>> I would like to point out that Julian Bream is still alive (born
   1933).
   >>> He has always been my favorite guitarist. I often thought it was a
   real
   >>> pity that he never played baroque lute. That woulda been amazing.
   >>
   >> Julian Bream is also an honorary member of the (British) Lute
   Society,
   >> where, some years ago, he gave lute master classes to some of the
   >> members in front of an enthusiastic audience (standing room only).
   >>
   >> Regards
   >>
   >> --
   >> Paul Overell
   >>
   >>
   >>
   >> To get on or off this list see list information at
   >>
   [1]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
   .edu_-7Ewbc_lute-2Dadmin_index.html&d=DwICaQ&c=l45AxH-kUV29SRQusp9vYR0n
   1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=i66
   79wAJ8GNXT6L1_SDqv6tZLIkOlTomGTukYqDHzlY&sÑ0EH96xcFJ2eVBlcUT7uFAXPP6jTk
   BmTOxb6R4I21U&e=
   >
   >
   >

References

   1. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DwICaQ&c=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=i6679wAJ8GNXT6L1_SDqv6tZLIkOlTomGTukYqDHzlY&sÑ0EH96xcFJ2eVBlcUT7uFAXPP6jTkBmTOxb6R4I21U&e=

[LUTE] Re: Julian Bream on Lute

[John Mardinly]

   Bream was the primary inspiration for Paul O'Dette, as has been
   documented in many O'Dette interviews.

   A. John Mardinly, Ph.D., P.E.

   On Jun 19, 2019, at 12:34 PM, Luke Emmet
   <[1]luke.em...@orlando-lutes.com> wrote:

   Julian Bream was an inspiration to so many people to take up the lute
   or to fall in love with it. I count myself among them.
   How much visibility would our instrument have had without his
   performances and recordings back in the day?
   Yes his technique is obviously strongly guitar influenced, and his lute
   a compromise to meet his technique. But to me, his musical insights,
   particularly into Dowland, were second to none for many years. I'm
   still to this day prepared to go a long way to listen beyond the sound
   of his fingernails to be taken into his musical vision of what was
   latent in the music itself and could be brought forward for us to
   marvel at.
   Best wishes
   - Luke
   On 19-Jun-2019 16:46, Braig, Eugene wrote:

 Hear, hear.
 Eugene
 -Original Message-
 From: [2]lute-...@cs.dartmouth.edu<[3]lute-...@cs.dartmouth.edu>  On
 Behalf Of Ron Andrico
 Sent: Wednesday, June 19, 2019 11:09 AM
 To: Gary Boye<[4]boy...@appstate.edu>; Edward C.
 Yong<[5]edward.y...@gmail.com>
 Cc: Jurgen Frenz<[6]eye-and-ear-cont...@protonmail.com>; Lute
 List<[7]lute@cs.dartmouth.edu>
 Subject: [LUTE] Re: Julian Bream on Lute
I feel I must add a word of support for Julian Bream and his many
contributions to the current lute revival.
As a 20th-century pioneering concert artist, Julian Bream first
 and
foremost raised the lute from a quaint closet instrument, best
 suited
to historians and eccentrics, to an instrument capable of musical
expression that reached and communicated to modern audiences.
Yes, Julian Bream developed and employed his own characteristic
technique.  And yes, he used instruments that were modified from
historical models to suit his needs as a touring concert artist.
  But
it was through his musical chops that he exposed a broad audience
 to
the depth and the possibilities of old music for the lute.
Bream-bashing has been a popular sport among modern players who
 like to
dwell on what is now considered proper lute technique, but many
 of
these players for all intents and purposes dwell in glass houses.
  For
instance, I still see an absurd number of modern players (who
 really
should know better) using thumb-under technique on baroque lute
 and
theorbo.  This is patently unhistorical.  In fact, it is well
 known
that music from circa 1600 onward should be played with the thumb
 out.
While the lute world is populated by an abundance of opinionated
hobbyists, Julian Bream is a real musician, and probably still
 has
chops most lute players will never attain.  Let's give the man
 the
respect he deserves.
RA
  ___
 ___
From: [8]lute-...@cs.dartmouth.edu<[9]lute-...@cs.dartmouth.edu>
  on behalf
of Gary Boye<[10]boy...@appstate.edu>
Sent: Wednesday, June 19, 2019 11:23 AM
To: Edward C. Yong
Cc: Jurgen Frenz; Lute List
Subject: [LUTE] Re: Julian Bream on Lute
   Edward,
   Back in the '70s, there was a quip that "Julian Bream makes
 the lute
   sound like a guitar and the guitar sound like a lute." I think
 that
   came from guitarists who had no idea what the lute could sound
 like.
   He was pretty amazing in concert (on guitar, I didn't see him
 play
   lute), and quite a character off stage. In addition to "lute,"
 he
also
   played "vihuela" and "Baroque guitar" (quotes used
 intentionally!) .
.
   . Can't say I'd recommend his early music recordings to
 students
today
   though..
   Gary
   On Wed, Jun 19, 2019 at 5:39 AM Edward C. Yong
   <[1][11]edward.y...@gmail.com>  wrote:
 I have to agree. JB used his stardom to get the lute out
 there,
even
 if it was a Frankenlute with nothing lute about it apart
 from the
 shape.
 Would anyone have paid attention to his lute playing if it
 hadn't
 ridden on the back of his guitarist reputation? Probably
 not.
 I recognise that many here were introduced to the lute via
 JB's
 efforts, but my own experience was rather different. My
 first
 exposure to lute music was an LP of Julian Bream playing
 Dowland
in
 my school library, and that put me off the lute - it sounded
 like
a
 classical g

[LUTE] Re: Julian Bream on Lute

[John Mardinly]

Left hand.

A. John Mardinly, Ph.D., P.E.




> On Jun 21, 2019, at 1:04 PM, John Mardinly  wrote:
> 
> Several years ago, Bream injured the A finger of his last hand and can no 
> longer play. I saw a photo in a guitar magazine that showed a finger swollen 
> to twice the normal diameter. There was no mention of how the injury occurred.
> 
> A. John Mardinly, Ph.D., P.E.
> 
> 
> 
> 
>> On Jun 20, 2019, at 10:49 AM, Paul Overell  wrote:
>> 
>> 
>> On 19/06/2019 23:18, Susan Price wrote:
>>>  I would like to point out that Julian Bream is still alive (born 1933).
>>>  He has always been my favorite guitarist. I often thought it was a real
>>>  pity that he never played baroque lute.  That woulda been amazing.
>> 
>> Julian Bream is also an honorary member of the (British) Lute Society,
>> where, some years ago, he gave lute master classes to some of the
>> members in front of an enthusiastic audience (standing room only).
>> 
>> Regards
>> 
>> -- 
>> Paul Overell
>> 
>> 
>> 
>> To get on or off this list see list information at
>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DwICaQ&c=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=i6679wAJ8GNXT6L1_SDqv6tZLIkOlTomGTukYqDHzlY&s=D10EH96xcFJ2eVBlcUT7uFAXPP6jTkBmTOxb6R4I21U&e=
>>  
> 
> 
> 

[LUTE] Re: Julian Bream on Lute

[John Mardinly]

Several years ago, Bream injured the A finger of his last hand and can no 
longer play. I saw a photo in a guitar magazine that showed a finger swollen to 
twice the normal diameter. There was no mention of how the injury occurred.

A. John Mardinly, Ph.D., P.E.




> On Jun 20, 2019, at 10:49 AM, Paul Overell  wrote:
> 
> 
> On 19/06/2019 23:18, Susan Price wrote:
>>   I would like to point out that Julian Bream is still alive (born 1933).
>>   He has always been my favorite guitarist. I often thought it was a real
>>   pity that he never played baroque lute.  That woulda been amazing.
> 
> Julian Bream is also an honorary member of the (British) Lute Society,
> where, some years ago, he gave lute master classes to some of the
> members in front of an enthusiastic audience (standing room only).
> 
> Regards
> 
> -- 
> Paul Overell
> 
> 
> 
> To get on or off this list see list information at
> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html&d=DwICaQ&c=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ&r=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E&m=i6679wAJ8GNXT6L1_SDqv6tZLIkOlTomGTukYqDHzlY&s=D10EH96xcFJ2eVBlcUT7uFAXPP6jTkBmTOxb6R4I21U&e=
>  

[LUTE] Re: Julian Bream on Lute

[John Mardinly]

Well said! Thank you!

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



> On Jun 19, 2019, at 8:09 AM, Ron Andrico  wrote:
> 
>   I feel I must add a word of support for Julian Bream and his many
>   contributions to the current lute revival.
> 
>   As a 20th-century pioneering concert artist, Julian Bream first and
>   foremost raised the lute from a quaint closet instrument, best suited
>   to historians and eccentrics, to an instrument capable of musical
>   expression that reached and communicated to modern audiences.
> 
>   Yes, Julian Bream developed and employed his own characteristic
>   technique.  And yes, he used instruments that were modified from
>   historical models to suit his needs as a touring concert artist.  But
>   it was through his musical chops that he exposed a broad audience to
>   the depth and the possibilities of old music for the lute.
> 
>   Bream-bashing has been a popular sport among modern players who like to
>   dwell on what is now considered proper lute technique, but many of
>   these players for all intents and purposes dwell in glass houses.  For
>   instance, I still see an absurd number of modern players (who really
>   should know better) using thumb-under technique on baroque lute and
>   theorbo.  This is patently unhistorical.  In fact, it is well known
>   that music from circa 1600 onward should be played with the thumb out.
> 
>   While the lute world is populated by an abundance of opinionated
>   hobbyists, Julian Bream is a real musician, and probably still has
>   chops most lute players will never attain.  Let's give the man the
>   respect he deserves.
> 
>   RA
> __
> 
>   From: lute-...@cs.dartmouth.edu  on behalf
>   of Gary Boye 
>   Sent: Wednesday, June 19, 2019 11:23 AM
>   To: Edward C. Yong
>   Cc: Jurgen Frenz; Lute List
>   Subject: [LUTE] Re: Julian Bream on Lute
> 
>  Edward,
>  Back in the '70s, there was a quip that "Julian Bream makes the lute
>  sound like a guitar and the guitar sound like a lute." I think that
>  came from guitarists who had no idea what the lute could sound like.
>  He was pretty amazing in concert (on guitar, I didn't see him play
>  lute), and quite a character off stage. In addition to "lute," he
>   also
>  played "vihuela" and "Baroque guitar" (quotes used intentionally!) .
>   .
>  . Can't say I'd recommend his early music recordings to students
>   today
>  though..
>  Gary
>  On Wed, Jun 19, 2019 at 5:39 AM Edward C. Yong
>  <[1]edward.y...@gmail.com> wrote:
>I have to agree. JB used his stardom to get the lute out there,
>   even
>if it was a Frankenlute with nothing lute about it apart from the
>shape.
>Would anyone have paid attention to his lute playing if it hadn't
>ridden on the back of his guitarist reputation? Probably not.
>I recognise that many here were introduced to the lute via JB's
>efforts, but my own experience was rather different. My first
>exposure to lute music was an LP of Julian Bream playing Dowland
>   in
>my school library, and that put me off the lute - it sounded like
>   a
>classical guitar to me, so at 12, I didn't see the point. It
>   wasn't
>until a year later that I heard Paul O'Dette and Jakob Lindberg's
>   cd
>of Elizabethan lute duets and that changed my mind entirely - I
>wanted to play an instrument that sounded like theirs.
>While I have much respect for JB being a musician on the guitar
>   and
>an 'early adopter', I fear I find his tone on the lute to be thin
>and hard, or âmetallic sharp' as Mr Frenz calls it. It's difficult
>for me to look past the tone and appreciate JB's musicianship on
>   the
>lutewhen I find the tone unattractive - and this is my failing,
>   not
>JB's.
>Edward
>> On 19 Jun 2019, at 12:40 PM, Jurgen Frenz
><[2]eye-and-ear-cont...@protonmail.com> wrote:
>> 
>> Julian Bream was a vital part (I believe) of the lute revival 50
>years ago by making the music public. On the downside of it he
>played guitar technique on it to the point of using singe strings
>   on
>both the high G and D courses - it allowed him to play apoyando on
>the lute which is a big no-no. Hence his lute playing doesn't
>   really
>sound like a lute. Also, at that time, it was common guitar
>technique to use sound differences to emphasize or mark formal
>sections by moving the right hand extremely close to the bridge,
>which creates a very metallic sharp sound. This has fallen out of
>favor on the guitar as well, I personally would qualify it as
>obnoxious, even more so on the lute.
>> If you like it, you may listen to Konrad Ragossnigs lute
>recordings, he sounds very much like Bream did.
>> 
>> Be

[LUTE] Re: Corigniani

[Edward Martin]

   Alain and all,
   Thanks for bringing up Corigniani.   I have for years really liked this
   concerto in Bb for baroque lute duo.   I recorded it with lutenist Paul
   Berget 20 years ago in an album which was never released, as it was a
   home-made recording and the equipment used was basic, not of
   professional standards.   At any rate, I could e-mail the pieces in mp3
   format to anyone interested.
   Toyohiko Satoh also recorded his concerto with Miki Satoh, his
   daughter.   It is on a CD entitled, "Ayumi", Carpe Diem CD- 16275.   I
   shall write out the notes he included in the liner notes:
   "The Concerto in B flat major by Corigniani consists of four movements:
   Introduzzione, Adagio, Allegretto, and Allabreve.   The manuscript of
   this concerto is now kept in Brussels in Belgium.   Concerning the
   composer, no document is found.   It is most likely that Corigniani was
   a pen name of some German composer, as Telemann used a pen name,
   Melante.   The reason is that there are no solo lute pieces left with
   this name and it is hard to regard this work as a composition by a
   lutenist.   A lutenist would have used higher positions.   In the
   Breitkof catalog of 1761 there are two sonatas for lute duet by
   Corigniani, but it is not clear whether one of them is this concerto.

   The second lute part of introduzzione and Adagio is written to
   compensate the first part.   Allegretto and Allabreve are contrapuntal
   pieces, both lutes treated equally.   Originally a bass part for cello
   or violone was added to this concerto.   It is omitted in this
   performance, considering the fact that the bass is already doubled by
   the two lutes.   After a minute comparison of the lute parts with the
   bass part, missing notes of the bass were added to the lute parts,
   which made the performance only a trifle more difficult.   Although in
   a low register and therefore not so brilliant, this is still a very
   graceful concerto."
   If anyone has additional information, please share it!
   Best,
   ed

   On Fri, Jun 21, 2019 at 11:37 AM Ralf Mattes <[1]r...@mh-freiburg.de>
   wrote:


 Am Freitag, 21. Juni 2019 18:02 CEST, Alain Veylit
 <[2]al...@musickshandmade.com> schrieb:
 > There is a very nice concerto for 2 Baroque lutes and basso at the
 > Brussels Royal library by a mister (or mrs) Corigniani. Google
 turns up
 > very little on that composer, except that it may be a pseudonym
 for a
 > German composer. What is the rationale/research to doubt that
 Corigniani
 > was   Italian? Is there a notice for Corigniani in the latest
 Grove?
 No, nothing except the mention of the concerto in 'Sources of Lute
 Music'
 ([3]https://doi.org/10.1093/gmo/9781561592630.article.26299) by
 Ness and Kolczynski.
  Cheers, RalfD
 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:r...@mh-freiburg.de
   2. mailto:al...@musickshandmade.com
   3. https://doi.org/10.1093/gmo/9781561592630.article.26299
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Corigniani

[Stephan Olbertz]

It is an arrangement, and a pseudonym seems very probable if you attempt to 
track down this "Italian composer". I have a hunch... BTW, there once have been 
two duets by Corigniani kept by Breitkopf. 
Regards
Stephan

-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag 
von Alain Veylit
Gesendet: Freitag, 21. Juni 2019 18:02
An: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Corigniani

There is a very nice concerto for 2 Baroque lutes and basso at the 
Brussels Royal library by a mister (or mrs) Corigniani. Google turns up 
very little on that composer, except that it may be a pseudonym for a 
German composer. What is the rationale/research to doubt that Corigniani 
was  Italian? Is there a notice for Corigniani in the latest Grove? Was 
that concerto recorded using the original instruments?

Thanks for the tips,

Alain



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

[LUTE] Re: looking for concordances

[utchug]

Many thanks to everyone,

Peter Steur just answered with great kindness, generosity (and speed), 
attaching all he could find, that’s more than enough for my work.

L.



Il giorno 21 giu 2019, alle ore 17:36, Miles Dempster 
 ha scritto:

Hello Luca,

I’d love to share a glass of cold Verdeca with you but I’m stuck in 
Montreal for the moment!

If you are looking for concordances perhaps the work has already been done by 
Victor Coelho:

https://books.google.ca/books/about/The_Manuscript_Sources_of_Seventeenth_ce.html?id=7jqWQgAACAAJ&redir_esc=y
 
>

Miles




> On Jun 21, 2019, at 10:48 AM, utchug  wrote:
> 
> Good morning everyone,
> 
> for a check on concordances of the “Libro di Leuto di Gioseppe Antonio 
> Doni”,
> I am looking for a facsimile of the following manuscripts, (whole books or 
> just the pages with concordant pieces).
> 
> 
> F-Pn Rés. Vmd ms. 29  -  Toccata detta il Moretti (il Merone?) f.5
> 
> I-Tn Riserva Musica IV, 23/2, f.10v
> 
> I-Nc ms. 7664 - old signature 35.I.24 (Francesco Quartiron book) - Corrente 
> detta la Honesta, f.21v
> 
> 
> In exchange I offer aperitif and glass of cold Verdeca (white wine) to those 
> who want to pass by and to spend time in Lecce. ;-)
> 
> Thank you,
> Luca Tarantino
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--


--

[LUTE] Re: Corigniani

[Ralf Mattes]

 
Am Freitag, 21. Juni 2019 18:02 CEST, Alain Veylit  
schrieb: 
 
> There is a very nice concerto for 2 Baroque lutes and basso at the 
> Brussels Royal library by a mister (or mrs) Corigniani. Google turns up 
> very little on that composer, except that it may be a pseudonym for a 
> German composer. What is the rationale/research to doubt that Corigniani 
> was  Italian? Is there a notice for Corigniani in the latest Grove?

No, nothing except the mention of the concerto in 'Sources of Lute Music'
(https://doi.org/10.1093/gmo/9781561592630.article.26299) by  Ness and 
Kolczynski.

 Cheers, RalfD





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

[LUTE] Re: Corigniani

[Alain Veylit]

There is a very nice concerto for 2 Baroque lutes and basso at the 
Brussels Royal library by a mister (or mrs) Corigniani. Google turns up 
very little on that composer, except that it may be a pseudonym for a 
German composer. What is the rationale/research to doubt that Corigniani 
was  Italian? Is there a notice for Corigniani in the latest Grove? Was 
that concerto recorded using the original instruments?


Thanks for the tips,

Alain



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

[LUTE] Re: looking for concordances

[Miles Dempster]

Hello Luca,

I’d love to share a glass of cold Verdeca with you but I’m stuck in 
Montreal for the moment!

If you are looking for concordances perhaps the work has already been done by 
Victor Coelho:

https://books.google.ca/books/about/The_Manuscript_Sources_of_Seventeenth_ce.html?id=7jqWQgAACAAJ&redir_esc=y
 


Miles




> On Jun 21, 2019, at 10:48 AM, utchug  wrote:
> 
> Good morning everyone,
> 
> for a check on concordances of the “Libro di Leuto di Gioseppe Antonio 
> Doni”,
> I am looking for a facsimile of the following manuscripts, (whole books or 
> just the pages with concordant pieces).
> 
> 
> F-Pn Rés. Vmd ms. 29  -  Toccata detta il Moretti (il Merone?) f.5
> 
> I-Tn Riserva Musica IV, 23/2, f.10v
> 
> I-Nc ms. 7664 - old signature 35.I.24 (Francesco Quartiron book) - Corrente 
> detta la Honesta, f.21v
> 
> 
> In exchange I offer aperitif and glass of cold Verdeca (white wine) to those 
> who want to pass by and to spend time in Lecce. ;-)
> 
> Thank you,
> Luca Tarantino
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--

[LUTE] Re: looking for concordances

[Tristan von Neumann]

Unfortunately, I have none of those - but here's a hint:

Check the Siena Ms. (last quarter) for the Toccata-like "fantasies".

Also there are pieces by Amadeo Moretti in it (if this is your guy).

If you find anything interesting, please also notify Peter Steur so he
will include any new concordances in his database.


On 21.06.19 16:48, utchug wrote:

Good morning everyone,

for a check on concordances of the “Libro di Leuto di Gioseppe Antonio Doni”,
I am looking for a facsimile of the following manuscripts, (whole books or just 
the pages with concordant pieces).


F-Pn Rés. Vmd ms. 29  -  Toccata detta il Moretti (il Merone?) f.5

I-Tn Riserva Musica IV, 23/2, f.10v

I-Nc ms. 7664 - old signature 35.I.24 (Francesco Quartiron book) - Corrente 
detta la Honesta, f.21v


In exchange I offer aperitif and glass of cold Verdeca (white wine) to those 
who want to pass by and to spend time in Lecce. ;-)

Thank you,
Luca Tarantino



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

[LUTE] looking for concordances

[utchug]

Good morning everyone,

for a check on concordances of the “Libro di Leuto di Gioseppe Antonio Doni”,
I am looking for a facsimile of the following manuscripts, (whole books or just 
the pages with concordant pieces).


F-Pn Rés. Vmd ms. 29  -  Toccata detta il Moretti (il Merone?) f.5

I-Tn Riserva Musica IV, 23/2, f.10v

I-Nc ms. 7664 - old signature 35.I.24 (Francesco Quartiron book) - Corrente 
detta la Honesta, f.21v


In exchange I offer aperitif and glass of cold Verdeca (white wine) to those 
who want to pass by and to spend time in Lecce. ;-)

Thank you,
Luca Tarantino



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