[LUTE] Re: happy new year
7th auguri di felice anno nuovo! Donatella - Original Message - From: Neil J feetandfin...@gmail.com To: wikla wi...@cs.helsinki.fi Cc: Roman Turovsky r.turov...@gmail.com; Lex van Sante lvansa...@gmail.com; Mathias Rösel mathias.roe...@t-online.de; lute mailing list list lute@cs.dartmouth.edu Sent: Friday, January 01, 2010 3:17 PM Subject: [LUTE] Re: happy new year 6'ed coursed! The next are bass notes! Hi, i'm new! Neil James 207-939-2762 Auburn, ME On Jan 1, 2010, at 9:18 AM, wikla wi...@cs.helsinki.fi wrote: 5'ed: Hyvää Uutta Vuotta! Arto On Fri, 1 Jan 2010 07:54:32 -0500, Roman Turovsky r.turov...@gmail.com wrote: 4'ed: З Новим Роком! RT - Original Message - From: Mathias Rösel mathias.roe...@t-online.de To: Lex van Sante lvansa...@gmail.com Cc: lute mailing list list lute@cs.dartmouth.edu Sent: Friday, January 01, 2010 5:50 AM Subject: [LUTE] Re: happy new year Seconded: Gutes Neues Jahr euch allen! Mathias Lex van Sante lvansa...@gmail.com schrieb: To everybody on this list: Happy New Year, Feliz Año nuevo, Gelukkig nieuwjaar, Lex To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Mathias Rösel http://mathiasroesel.livejournal.com http://www.myspace.com/mathiasroesel
[LUTE] Re: Renaissance Metaphors
There are maybe no tombeaux in Italy, but there are many Dies Irae, put in music by many musicians, as it is the piece which is sung during the Mass for funerals. Didn't Sautscheck write one as well? Donatella - Original Message - From: Roman Turovsky r.turov...@verizon.net To: Donatella Galletti do...@tiscali.it; LuteNet list lute@cs.dartmouth.edu; Ed Durbrow edurb...@sea.plala.or.jp; chriswi...@yahoo.com Sent: Wednesday, December 09, 2009 11:27 PM Subject: [LUTE] Re: Renaissance Metaphors Relative absence of funeral music in the Catholic territories has spawn the genre of the Tombeau, pretty much for the same reasons. RT - Original Message - From: Donatella Galletti do...@tiscali.it To: LuteNet list lute@cs.dartmouth.edu; Ed Durbrow edurb...@sea.plala.or.jp; chriswi...@yahoo.com Sent: Wednesday, December 09, 2009 4:26 PM Subject: [LUTE] Re: Renaissance Metaphors Another take on the matter: In the eyes of Catholicism, being depressed was a serious sin because it was seen as a denial of the saving power of Christ. I talked to someone very much into Catholicism and the history of it and he has never heard of such a thing. Me too. It would be interesting to know the source, is there anyone who wrote such things in Italy at the time? Donatella - Original Message - From: chriswi...@yahoo.com To: LuteNet list lute@cs.dartmouth.edu; Ed Durbrow edurb...@sea.plala.or.jp Sent: Tuesday, December 08, 2009 1:50 PM Subject: [LUTE] Re: Renaissance Metaphors Ed, --- On Tue, 12/8/09, Ed Durbrow edurb...@sea.plala.or.jp wrote: No one is mentioned as having caused the distress. Kind of like some blues in a way. Yes, blues is a great analog. I suppose much of it is melancholy of the hurts so good variety. Acting suitably bummed has been de rigueur among many in the artistic set for ages it seems. Another take on the matter: In the eyes of Catholicism, being depressed was a serious sin because it was seen as a denial of the saving power of Christ. (Think of Durer's Melencolia engraving.) I'm not sure about Elizabethan mores, but assume that the Church of England would have retained a similar view on the matter. For one to publicly admit that you were down would therefore be naughty and rebellious and therefore entirely tempting. Just like dying. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Renaissance Metaphors
Well, accidia, as it is called here, was more seen as a deadly sin as it does not bring to ora et labora - the one invented by Saint Benedict monks, for which a religious person should be active and not just live in contemplation. I googled and I found websites by priests discussing this as well , in modern terms, but they are written in Italian, so not easy for everybody out there... Melancholy as it was seen in the Renaissance, to us is different from accidia. I talked again to the person I mentioned in my previous message and he agrees to that. Donatella - Original Message - From: Stephen Arndt stephenar...@earthlink.net To: chriswi...@yahoo.com; LuteNet list lute@cs.dartmouth.edu; Ed Durbrow edurb...@sea.plala.or.jp; Donatella Galletti do...@tiscali.it Sent: Thursday, December 10, 2009 12:16 AM Subject: [LUTE] Re: Renaissance Metaphors Insofar as it is seen as denial of the saving power of Christ, it seems to me that the reference is more properly to despair. You might want to read what Thomas Aquinas wrote on the matter in ST I-II,q. 20, which you can find in a mediocre translation here: http://www.newadvent.org/summa/3020.htm#article1 He notes, however, in the fourth article that despair can arise from acedia or sloth. -Original Message- From: chriswi...@yahoo.com Sent: Dec 9, 2009 5:59 PM To: LuteNet list lute@cs.dartmouth.edu, Ed Durbrow edurb...@sea.plala.or.jp, Donatella Galletti do...@tiscali.it Subject: [LUTE] Re: Renaissance Metaphors Donatella, It was called Acedia and was one of the seven deadly sins. Its usually translated as Sloth in English, but denotes a spiritual as well as physical listlessness. Chris --- On Wed, 12/9/09, Donatella Galletti do...@tiscali.it wrote: From: Donatella Galletti do...@tiscali.it Subject: [LUTE] Re: Renaissance Metaphors To: LuteNet list lute@cs.dartmouth.edu, Ed Durbrow edurb...@sea.plala.or.jp, chriswi...@yahoo.com Date: Wednesday, December 9, 2009, 4:26 PM Another take on the matter: In the eyes of Catholicism, being depressed was a serious sin because it was seen as a denial of the saving power of Christ. I talked to someone very much into Catholicism and the history of it and he has never heard of such a thing. Me too. It would be interesting to know the source, is there anyone who wrote such things in Italy at the time? Donatella - Original Message - From: chriswi...@yahoo.com To: LuteNet list lute@cs.dartmouth.edu; Ed Durbrow edurb...@sea.plala.or.jp Sent: Tuesday, December 08, 2009 1:50 PM Subject: [LUTE] Re: Renaissance Metaphors Ed, --- On Tue, 12/8/09, Ed Durbrow edurb...@sea.plala.or.jp wrote: No one is mentioned as having caused the distress. Kind of like some blues in a way. Yes, blues is a great analog. I suppose much of it is melancholy of the hurts so good variety. Acting suitably bummed has been de rigueur among many in the artistic set for ages it seems. Another take on the matter: In the eyes of Catholicism, being depressed was a serious sin because it was seen as a denial of the saving power of Christ. (Think of Durer's Melencolia engraving.) I'm not sure about Elizabethan mores, but assume that the Church of England would have retained a similar view on the matter. For one to publicly admit that you were down would therefore be naughty and rebellious and therefore entirely tempting. Just like dying. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Renaissance Metaphors
Another take on the matter: In the eyes of Catholicism, being depressed was a serious sin because it was seen as a denial of the saving power of Christ. I talked to someone very much into Catholicism and the history of it and he has never heard of such a thing. Me too. It would be interesting to know the source, is there anyone who wrote such things in Italy at the time? Donatella - Original Message - From: chriswi...@yahoo.com To: LuteNet list lute@cs.dartmouth.edu; Ed Durbrow edurb...@sea.plala.or.jp Sent: Tuesday, December 08, 2009 1:50 PM Subject: [LUTE] Re: Renaissance Metaphors Ed, --- On Tue, 12/8/09, Ed Durbrow edurb...@sea.plala.or.jp wrote: No one is mentioned as having caused the distress. Kind of like some blues in a way. Yes, blues is a great analog. I suppose much of it is melancholy of the hurts so good variety. Acting suitably bummed has been de rigueur among many in the artistic set for ages it seems. Another take on the matter: In the eyes of Catholicism, being depressed was a serious sin because it was seen as a denial of the saving power of Christ. (Think of Durer's Melencolia engraving.) I'm not sure about Elizabethan mores, but assume that the Church of England would have retained a similar view on the matter. For one to publicly admit that you were down would therefore be naughty and rebellious and therefore entirely tempting. Just like dying. Chris To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gabbiani
By Gabbiani and a player see also on my website mysterious lutenist Donatella http://web.tiscali.it/awebd/ - Original Message - From: Bernd Haegemann b...@symbol4.de To: lute mailing list list lute@cs.dartmouth.edu Sent: Saturday, November 07, 2009 8:59 PM Subject: [LUTE] Gabbiani Hi, do we know who the theorbo player on this picture by Gabbiani is: http://www.lute-academy.be/docstore/gabbiani_medici.jpg ? greetings Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Women composers of lute music
I was waiting to be dead to say that, as a dead composer is much more valuable, but as it occurred to me I might have some problems in writing mails to the list at that time, as an anteprima you can have a look at Alessia Aldobrandini music... Donatella http://web.tiscali.it/awebd - Original Message - From: Suzanne and Wayne angevin...@att.net To: Lute list lute@cs.dartmouth.edu Sent: Friday, September 11, 2009 4:45 AM Subject: [LUTE] Women composers of lute music For starters, lets assume Mark meant women composers of lute music, perhaps either living or historical. Occasionally, women performers (of various instruments) will take up the theme of music written by women. For example, at the last major Lute Fest in Cleveland last year, Elizabeth C. D. Brown gave a recital on lute and baroque guitar titled Women of Good Courage. This was music from lute books collected/owned by women rather than known to be composed by women. Here is a summary: Part 1: from the Elisabeth von Hessen Lutebook 3 sets of pieces played on lute, by various male composers or publishers, also anon. Part 2: Elisabeth-Claude Jacquet de la Guerre A suite of dance pieces starting with a prelude, by the named woman and arranged by the performer. Part 3: from the Princess Anne Manuscript 2 sets of dance pieces by Anon I remember this as a very well done recital. It seems to me that there are fewer examples of known women composers of lute music than perhaps is the case with later instruments and styles. Can any one else contribute more historical figures? And then there is the matter of living composers of lute music. I can't name many of these, although Ronn McFarlane's music is going to top my list. Also Allan Alexander writes some very nice stuff that I've liked. And then I will name myself as a composer as well. It started out as necessity, in writing music I could play when I was a beginner and easy music was hard to find (that was before so much stuff was on line.) But now I write music for myself and others for the sheer joy of creative expression. Any other living women composers of lute music? Suzanne -- Original message from gonzornumpl...@roadrunner.com: -- Hello Chris, Since you are actively engaged in scholarly pursuits regarding the lute,have you run into any decomposing lute composers who have been found to be women? I only have music by Madamoiselle Bocquet. Are there others that you can identify?There have got to be others. Or is it possible that women were behind all of the music, especially the best pieces, but didn't get any of the credit for cultural reasons? Mark Seifert To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Imbalance
Yes, I confirm, no beard. I think one reason is hands; though I can play, I sometimes think having one or two centimeters more in my fingers would be very handy and make things easier, but in that case I would look like a monster, being a woman.. Second reason, yes, it's a male world, just think of how many men can go around easily in the night and be hosted by fellow musicians ( men, of course) when recording or away for a concert. Third, yes, maybe women are a bit less on the net and fourth, they usually work more than men in the house, have to look after children and give a lot of time and energy to their partners. Lute requires a lot of hours of study, to get to a certain degree of skill. Men on the list, just think if your partners/wives devoted to the lute and the net the time and energies they devote to you and to chores in the house, would you be happy with that? greetings to everyone! Donatella http://web.tiscali.it/awebd http://www.webalice.it/dg3011/index.htm - Original Message - From: Stewart McCoy lu...@tiscali.co.uk To: Lute Net lute@cs.dartmouth.edu Sent: Thursday, September 10, 2009 6:29 PM Subject: [LUTE] Imbalance Dear Monica, I don't think it is sad at all. We all have the opportunity to contribute to this list, whether we are men or women. The choice is ours. If there happen to be more men than women in Peter Martin's sample, so be it. That's the way it is. You could as well do a survey, as I did some years ago, to see how many contributors to the list had beards. Of those who responded, 70% had beards, and none of them was a woman. Donatella Galetti was the only female lute-netter to respond to the survey, and she confirmed that she didn't have a beard. (See the archives for 19th December 2004.) There have always been women who play the lute, at least as long as lutes were around. I have in mind those sideways-on pictures of women plucking lute-like instruments in ancient Egyptian pictures. You have only to look at a few old paintings from renaissance times to see a multitude of female lutenists, including our good Queen Elizabeth. As far as sources are concerned, we have the Jane Pickeringe lute book, the Margaret Board lute book, and the M (probably for Margaret) L lute book. A little later we have Mary Burwell's lute book and Lady Wemyss' book. There is the Thynne lute book, and one of the family members who used it was a young lady to be seen in a painting holding her lute. Some important patrons of music were women, including Isabella d'Este and Margaret of Austria in the early part of the 16th century. Even in times when women were treated very differently from men, music was a pursuit where women could flourish. So strongly was music seen to be associated with women, that macho Tobias Hume felt it necessary to confess that music was the only effeminate part of him. The situation is no different today. I think of Paula Chateauneuf, Lynda Sayce, Elizabeth Kenny, and many other women, who play the lute extremely well, and there are plenty of women who are fine musicologists too. It is a nonsense to say that the lute is a man's world, as if there were some latent prejudice we need to feel guilty about. We have enough barmy political correctness imposed upon us in other walks of life. May we be preserved from it here. Best wishes, Stewart McCoy. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Monica Hall Sent: 10 September 2009 13:17 To: David Tayler Cc: Lutelist Subject: [LUTE] Re: Imbalance It is indeed a sad story. I suspect this is also the case in the classical guitar world which may have a knock on effect. It's still a man's world. Monica - Original Message - From: David Tayler vidan...@sbcglobal.net To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Thursday, September 10, 2009 9:06 AM Subject: [LUTE] Re: Imbalance It is a sad story. d At 12:54 AM 9/10/2009, you wrote: Of the last 100 individuals to post to this list, 95 were men. Is this representative of the wider lute world? Any ideas why? Peter -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Andres Segovia
thanks for the link! On the right in the background there is a very young Aldo Minella, who was my guitar teacher donatella http://web.tiscali.it/awebd - Original Message - From: Gert de Vries desgert...@telfort.nl To: lute@cs.dartmouth.edu Sent: Tuesday, July 14, 2009 10:46 AM Subject: [LUTE] Andres Segovia Andres Segovia imitating a lute. http://www.youtube.com/watch?v=n-rqoH92MC8 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Andres Segovia
I know that one already, yes! d - Original Message - From: Lex van Sante lvansa...@wanadoo.nl To: lute mailing list list lute@cs.dartmouth.edu Sent: Tuesday, July 14, 2009 11:05 PM Subject: [LUTE] Re: Andres Segovia @ Donatella There are even some video's there on Youtube with Andres actually teaching Aldo Minella. For your delictation :-) Cheers Op 14 jul 2009, om 22:38 heeft Donatella Galletti het volgende geschreven: thanks for the link! On the right in the background there is a very young Aldo Minella, who was my guitar teacher donatella http://web.tiscali.it/awebd - Original Message - From: Gert de Vries desgert...@telfort.nl To: lute@cs.dartmouth.edu Sent: Tuesday, July 14, 2009 10:46 AM Subject: [LUTE] Andres Segovia Andres Segovia imitating a lute. http://www.youtube.com/watch?v=n-rqoH92MC8 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: review
I suppose he just did not know the difference between Renaissance Medieval and Baroque, so large bygone centuries would do.. Donatella To: Lex van Sante lvansa...@wanadoo.nl; lute mailing list list lute@cs.dartmouth.edu; Mayes, Joseph ma...@rowan.edu Sent: Monday, June 01, 2009 4:51 PM Subject: [LUTE] Re: review I rather like this, and might take is as an autojustification, as it implies that the past is still alive, at least in part. RT - Original Message - From: Mayes, Joseph ma...@rowan.edu To: Lex van Sante lvansa...@wanadoo.nl; lute mailing list list lute@cs.dartmouth.edu Sent: Monday, June 01, 2009 10:24 AM Subject: [LUTE] Re: review I once had a reviewer say that I played music from largely bygone centuries any idea what that means? JM __ From: lute-...@cs.dartmouth.edu on behalf of Lex van Sante Sent: Mon 6/1/2009 9:12 AM To: lute mailing list list Subject: [LUTE] Re: review Once a professional critic wrote about a recital of mine that my lute sounded like a crackling painting. Untill now I still don't know what substance he was on.xD Op 1 jun 2009, om 14:57 heeft howard posner het volgende geschreven: On Jun 1, 2009, at 5:31 AM, Rob MacKillop wrote: The guy is a native-English speaker, so has no excuse, and, no, I have no idea what he is talking about. Still, a review's a review! It has the virtue of being obviously obscure; you're not deluded by apparently clear writing into thinking it actually says anything worth knowing. I've been involved in writing and editing reviews of one sort or another (I'm doing both between reading and writing these posts) and I've seen lots of reviews that appear to be using plain English but consist entirely of throat-clearing, introductions of topics that aren't pursued, and characterizations that are meaningful only to the writer; at the end, there's no actual meaning. Here's a famous bit of critical drivel, from a 1979 review of Queen's Jazz album by a rock critic with a big reputation. The prose is fine, but when you've read it, try to relate it something in the real world. Does fascist rock band actually mean something? Or is the critic just suffering the effects of keen distaste mixed with drugs? Whatever its claims, Queen isn't here just to entertain. This group has come to make it clear exactly who is superior and who is inferior. Its anthem, We Will Rock You, is a marching order: you will not rock us, we will rock you. Indeed, Queen may be the first truly fascist rock band. The whole thing makes me wonder why anyone would indulge these creeps and their polluting ideas. For context, you can read the whole rant at: [1]http://www.rollingstone.com/artists/queen/albums/album/195592/review / 5942056 -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.rollingstone.com/artists/queen/albums/album/195592/review/ 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: my first video
Congratulations and thanks! Very enjoyable and I like the singers. Try with Democracy Donatella - Original Message - From: David van Ooijen davidvanooi...@gmail.com To: Lute List Lute@cs.dartmouth.edu Sent: Sunday, January 25, 2009 6:10 PM Subject: [LUTE] my first video Sort of anyway. This morning's live radio was on internet as well: http://wm1.avro.jet-stream.nl/avro/web/klassiek/090125_spiegelzaal.wmv In the first 15 minutes of chat show you can hear (and see!) me accompany Music for a While (in F-minor), a Corpario duet and the Dialogue on a Kiss. Btw: does somebody know how I can download this to my PC? David - had a Bach cantata in E-major (recits C-sharp minor!) in the afternoon; quite a trip: from 4 flats to four sharps! -- *** David van Ooijen davidvanooi...@gmail.com www.davidvanooijen.nl *** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Merry Christmas, version 2!
I'm watching it, very nice video, especially the one of the Reindeer race Thanks and Merry Christmas to all of you Donatella - Original Message - From: Arto Wikla wi...@cs.helsinki.fi To: lute@cs.dartmouth.edu Sent: Monday, December 22, 2008 9:51 AM Subject: [LUTE] Merry Christmas, version 2! Dear lutenists and like, there was a request of giving links to the real Santa C pages, too, and not only to some carols. ;-) Well, here you are: The page http://www.santaclaus.fi/ has a lot of stuff: webcam to the Arctic Circle, stories of the real Finnish Santa and his home at Korvatunturi mountain, hobby figurines for Christmas, reindeers, etc. In page http://www.santatelevision.com/ you can watch SantaTalevision! There are many interesting and important programs: Elf School, Santa's Departure, Santa Claus' Reindeer race, Santa's Interview, and lots and lots of other programs! And in 11 different languages! Merry Christmas! Arto PS And of course you are also allowed to play my arrangements found in http://www.cs.helsinki.fi/u/wikla/mus/10_courseLute/Carols/ ;-) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: nationalbibliothek vienna
Very nice city at Christmas, maybe very cold and icy. I remember you can't copy more than 10% of the book, and not more than two per day, so bring some people with you.. No problems if you want just see them, nice, efficient and kind people Donatella - Original Message - From: Taco Walstra wals...@science.uva.nl To: lutelist lute@cs.dartmouth.edu Sent: Thursday, December 18, 2008 9:38 AM Subject: [LUTE] nationalbibliothek vienna Anybody familiar with visiting the Nationalbibliothek in Vienna? I will travel to vienna in january and planning to visit the library, but don't know how easy/difficult it is to make copies of manuscripts from microfiches etc. Any other pointers wrt vienna and lutes are welcome. I know there is a beautiful museum with instruments, but perhaps other interesting places etc. Taco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Consort
- Original Message - From: Donatella Galletti [EMAIL PROTECTED] To: Susanne Herre [EMAIL PROTECTED] Sent: Sunday, November 16, 2008 11:23 AM Subject: Re: [LUTE] Lute Consort Welcome to the list! You might write them yourself, I used to do that, 4 people, lutes, baroque guitar, theorbo. There are many possibilities in vocal music or lute music with continuo Donatella http://web.tiscali.it/awebd - Original Message - From: Susanne Herre [EMAIL PROTECTED] To: Lute List lute@cs.dartmouth.edu Sent: Sunday, November 16, 2008 12:22 AM Subject: [LUTE] Lute Consort Dear Lutenists, Does anybody know where to find music for lute consort (3 to 5 people)? What would be the most common instrumentation for a lute consort -which lutes in which tunings? Thank you very much for any help! Kind regards, Susanne -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Videos from the lute list- was: Re: Bach on the baroque lute
I think we should consider videos as being together talking in the same room, and at a certain time someone takes the instrument and plays, an enjoyable experience, it's a friend's playing gist, not a lecture. How many people are always willing to listen to lectures and how many to listen to friends? Donatella ( I too was thinking of EEygor or Aigor, Frankenstein Junior, isnt' it?) - Original Message - From: Rob MacKillop [EMAIL PROTECTED] To: igor . [EMAIL PROTECTED] Cc: David Tayler [EMAIL PROTECTED]; lute-cs. dartmouth. edu lute@cs.dartmouth.edu Sent: Sunday, November 09, 2008 5:33 PM Subject: [LUTE] Re: Bach on the baroque lute No, I was being genuine. The same goes for Trond, Danny, Roman, Arto, and all the others. They all have those magic moments where trying stops and being takes over. It might be one moment in a whole video, or it might indeed be the whole video. Same goes for my students, some of them complete beginners. It only takes two or three notes to make something worthwhile and memorable. Val has a genuine fan club, and deservedly so. He might not be Hoppy Smith, but who is? That doesn't mean you can't give something positive to the world. I've heard many virtuosos who have left me cold, but even they manage a moment or two here and there. What matters is that they are trying to be positive, sharing their love for the lute and its music. What have you shared today, Igor? I don't think Igor should be removed from this list. I'm sure Val wasn't hurt in any way. Igor might be an idiot, but this is not a moderated list, and just as well as there are a few of us who might not be able to contribute as we now do :-) Rob There are moments when Val's playing has moved me, and left me thinking, 'Why can't I play like that?' you must be a comedian or something ?! Igor Moronski -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Kapsberger et Zamboni -Scarlatti
Just browsing, going through Valery Savage, to Contini, I chanced upon this, Scarlatti on a classical guitar, yes OT, great technique, clean and clear sound varied as needed, good insight and phrasing, linked notes, worth watching ( but no dogs...) http://www.youtube.com/watch?v=bH_t2mhVrGkfeature=related and Cimarosa http://www.youtube.com/watch?v=fKrvcQKMkzENR=1 Donatella P.S. Mi surname is GalLetti, and not Galetti, rudo is the right word for the person, but it doesn't exist in Italian, it's gran maleducato. Rather than for criticism, I reckon the list should be used to build something together, trying to remember lutenists are not so many all over the world and they shouldn't fight each other, to see how many casualties they can leave on the battleground. Arto provided some work and everybody is invited to do the same. Listening is not mandatory, no Big Brother watching you. A better performance, played by the person involved, will tell more than thousands mails. ( nice dogs and cats in the background , gold fish and even piranas welcomed ) http://web.tiscali.it/awebd http://www.webalice.it/dg3011/index.htm - Original Message - From: G. Crona [EMAIL PROTECTED] To: igor . [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Saturday, November 08, 2008 10:51 AM Subject: [LUTE] Re: Kapsberger et Zamboni Igor, tu sei rudo, ma ascolta a questo modo: http://www.youtube.com/watch?v=YLx8LLChuG4 G. - Original Message - From: igor . [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, November 08, 2008 7:25 AM Subject: [LUTE] Re: Kapsberger et Zamboni e arciliuto dovrebbe essere svolto in questo modo : [2]http://www.youtube.com/watch?v=p3fyUoKSGVQ Nice and pleasant to listen to, and your dog is a real actor ! (Donatella Galetti ) Dog and Donatella are probably deaf ! Arto, nice and pleasant to listen to, and your dog is a real actor! Donatella - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Friday, November 07, 2008 9:02 AM Subject: [LUTE] Zamboni et Kapsberger Hi fellow musicians, I have added some new archlute recordings to Y-Tube and Vimeo: Giovanni Zamboni Romano: Sonata 9 (Lucca 1718): Preludio / Alemanda / Giga / Sarabanda, Gavotte, allegro and Girolamo Kapsberger (Libro primo di lauto, Roma 1611): Toccata 3 / Gagliarda 9. The links are in http://www.cs.helsinki.fi/u/wikla/mus/Arciliuto/ As you perhaps have found out, I have a couple principles: 1) The performances are not meant to be polished for the ethernity, They are just pieces I like. And in acceptable level (to me) to show, what it is all about. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Zamboni et Kapsberger
Arto, nice and pleasant to listen to, and your dog is a real actor! Donatella http://web.tiscali.it/awebd http://www.webalice.it/dg3011/index.htm - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Friday, November 07, 2008 9:02 AM Subject: [LUTE] Zamboni et Kapsberger Hi fellow musicians, I have added some new archlute recordings to Y-Tube and Vimeo: Giovanni Zamboni Romano: Sonata 9 (Lucca 1718): Preludio / Alemanda / Giga / Sarabanda, Gavotte, allegro and Girolamo Kapsberger (Libro primo di lauto, Roma 1611): Toccata 3 / Gagliarda 9. The links are in http://www.cs.helsinki.fi/u/wikla/mus/Arciliuto/ As you perhaps have found out, I have a couple principles: 1) The performances are not meant to be polished for the ethernity, They are just pieces I like. And in acceptable level (to me) to show, what it is all about. 2) In nearly all cases also the music (pdf) is published, especially when the piece is my own arrangement or edition, but often also my (in some cases pencil marked) performance editions of the facsimilies are there. All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Tumiati
I'm sorry to hear about all this. I said he is honest, as far as I know, because years back a similar message had appeared on the list , and after I had mailed it to him he had settled the matter, so that was my thought. Sad news to hear. Donatella - Original Message - From: Peter Milligan [EMAIL PROTECTED] To: baroque-lute@cs.dartmouth.edu Sent: Tuesday, June 24, 2008 6:00 PM Subject: [BAROQUE-LUTE] Tumiati Donatella, I would be very grateful if you could help me. The credit card company told me they see this thing more often then they would like with transactions to Europe. They told me the merchants know the rules on the statute of limitatons and will use it against trusting customers. I took his word he would deliver it in four weeks and paid in full back in the spring of 2002. He came back with a story that he had a group of people that were going to assemble them for him, but it all fell through. I asked him for my money back, but he would say it will be on it's way next week. He hasn't answered an e-mail in years. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Tumiati
I would like to if I could, does anyone have a working e-mail of Tumiati? The message cc I sent with my previous message to the list, Tumiati and Peter bounced back for Tumiati's supposed mail. Donatella - Original Message - From: Peter Milligan [EMAIL PROTECTED] To: baroque-lute@cs.dartmouth.edu Sent: Tuesday, June 24, 2008 6:00 PM Subject: [BAROQUE-LUTE] Tumiati Donatella, I would be very grateful if you could help me. The credit card company told me they see this thing more often then they would like with transactions to Europe. They told me the merchants know the rules on the statute of limitatons and will use it against trusting customers. I took his word he would deliver it in four weeks and paid in full back in the spring of 2002. He came back with a story that he had a group of people that were going to assemble them for him, but it all fell through. I asked him for my money back, but he would say it will be on it's way next week. He hasn't answered an e-mail in years. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: dishonest lute maker
He is not dishonest, as far as I know, but very busy and distracted, I'm sending this mail as cc to him. Donatella http://web.tiscali.it/awebd - Original Message - From: Peter Milligan [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Tuesday, June 24, 2008 4:06 AM Subject: [LUTE] dishonest lute maker I bought a student lute over the internet from Guiseppe Tumiati In the spring of 2002. I paid in full with a credit card and he promised an immediate delivery. I have never recieved it to this day and he stopped responding to my e-mails many years ago. Anybody have any opinions or comments? If your thinking of geting a lute from him let the buyer beware. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New website www.luteduo.com !!!!!
Very nice site and music, thanks for sharing! I have a problem visualizing that with Firefox though, I can't move the page down and I see only half of it Donatella http://web.tiscali.it/awebd - Original Message - From: Anton Birula [EMAIL PROTECTED] To: Lutenet lute@cs.dartmouth.edu Sent: Sunday, June 15, 2008 11:55 PM Subject: [LUTE] New website www.luteduo.com ! Dear Friends, welcome to our new website www.luteduo.com It is still being developed. Any feedback welcome:) After many collegues asked, we started to offer some duo Bach scores there. Warmest wishes, Anna Kowalska Anton Birula To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New website www.luteduo.com !!!!!
got it! Thanks Donatella - Original Message - From: Mathias Rösel [EMAIL PROTECTED] You can move with FireFox, also, by means of the arrow-key, or up- / down-keys, respectively, on that very well-done page. Mathias Anton Birula [EMAIL PROTECTED] schrieb: Dear Greet dear Donatella, thanks for the feedback:) We are still strugling with the site but you support is really helpful, try it once more next week! Best wishes, Anton --- On Tue, 6/17/08, Greet Schamp [EMAIL PROTECTED] wrote: From: Greet Schamp [EMAIL PROTECTED] Subject: RE: [LUTE] Re: New websitewww.luteduo.com ! To: 'Donatella Galletti' [EMAIL PROTECTED], 'Lutenet' lute@cs.dartmouth.edu, 'Anton Birula' [EMAIL PROTECTED] Date: Tuesday, June 17, 2008, 11:18 AM I had the same problem opening it with Mozilla Firefox Greet -Oorspronkelijk bericht- Van: Donatella Galletti [mailto:[EMAIL PROTECTED] Verzonden: dinsdag 17 juni 2008 10:03 Aan: Lutenet; Anton Birula Onderwerp: [LUTE] Re: New website www.luteduo.com ! Very nice site and music, thanks for sharing! I have a problem visualizing that with Firefox though, I can't move the page down and I see only half of it Donatella http://web.tiscali.it/awebd - Original Message - From: Anton Birula [EMAIL PROTECTED] To: Lutenet lute@cs.dartmouth.edu Sent: Sunday, June 15, 2008 11:55 PM Subject: [LUTE] New website www.luteduo.com ! Dear Friends, welcome to our new website www.luteduo.com It is still being developed. Any feedback welcome:) After many collegues asked, we started to offer some duo Bach scores there. Warmest wishes, Anna Kowalska Anton Birula To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Michelagnolo OT-was: Re: piece of the month update
- Original Message - From: Francesco Tribioli [EMAIL PROTECTED] To: 'Martin Shepherd' [EMAIL PROTECTED]; 'Greet Schamp' [EMAIL PROTECTED]; 'Lute Net' lute@cs.dartmouth.edu Sent: Monday, June 16, 2008 10:22 AM Subject: [LUTE] Re: piece of the month update I always thought that Michelagnolo was just wrong, that it should be Michelangelo but that's what it says on his title page, and it does seem possible (Michael the lamb) when you think about it. Can any Italians out there enlighten us? No, no, Michelagnolo is just ok. In the old days Agnolo and Angelo were equivalent. -not to be mixed with agnolotti and agnolini, surely greatly recommended http://www.giallozafferano.it/ricetta/Agnolotti http://www.cucinamantovana.it/agnoli1.htm Donatella I don't know if there was a Tuscan vernacular connotation for Agnolo but in any case this notation was widely used in the past and perhaps even more frequently than Angelo. Michelangelo Buonarroti too is very often called Michelagnolo Buonarroti, for instance in Giorgio Vasari's Vite de' più eccellenti pittori scultori e architetti. Francesco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Etimology -was: Re: Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics
Subject: [LUTE] Re: Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics From: Mathias Rösel [EMAIL PROTECTED] Besides, the modifying use of the prefix sau- is fairly confined to the estates of Bavaria, btw not always pejorative (saugut, saugeil). Most other parts of German speaking countries use Arsch- or Scheisz- instead (arschkalt, Scheiszwetter, both pretty rude). -- Mathias Interesting. I wonder if similarly functioning Italian modifier SCROFA, is a calque of that, via South Tirol. RT Scrofa comes from Graben and other similar roots, see http://www.etimo.it/?term=scrofafind=Cerca Donatella To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics
Stewart, I expect Roman will answer properly, but Sautscheck is the surname of his grand mother. I saw a tomb with this name on it in Prague, in the cemetery of important persons, apparently it's a common name. In Italian all this ( wondering about the hidden meanings of it etc) is called dietrologia , no idea how to translate it into proper English. Look in the archives, he told the story in past mails to the list. Donatella P.S. I did not read the paper you are talking about, the message did not get to me. http://web.tiscali.it/awebd - Original Message - From: Stewart McCoy [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Sunday, June 08, 2008 12:03 PM Subject: [LUTE] Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics Dear Roman, The paper is indeed interesting, although I cannot be sure who wrote it. In the paper, you are referred to as Roman Turovsky-Savchuk. Is this really your full name? If so, is your choice of the name Sautscheck for your own compositions, derived from the last part of your name? A few years ago, I told a friend about your compositions for lute, and how you used the pseudonym Sautscheck. He was much amused. He is a retired lecturer in German, and so is familiar with the German language. He said that Sautscheck has certain pejorative connotations, but I cannot remember the details. Is there a joke with the name Sautscheck which we are missing? I think the author of the paper would have been interested to know that Elias Mertel listed the names of the composers whose work was included in his anthology, but he deliberately failed to mention who actually wrote which piece. He argued in his introduction, that he wanted each piece to be judged on its own merits. Music from the 16th century is an interesting area as far as attributions are concerned. It is often difficult to distinguish between composer, arranger, intabulator, and publisher. Did Dowland compose My Lord Willoughby's Welcome Home, was the piece by Byrd, or did the piece exist before either of them put their gloss on it? On the question of arrangements, I would like to know more about how lute composers composed. I suspect that people like Dowland would have composed pieces in four or five parts in score, before arranging them as lute solos, with divisions and ornaments added last. I don't think they would have started with a lute on their lap and an empty tablature stave in front of them, but I could be wrong. I have a vague memory of hearing that Palestrina had a lute handy when composing. Best wishes, Stewart McCoy. -Original Message- From: Roman Turovsky [mailto:[EMAIL PROTECTED] Sent: 08 June 2008 04:25 To: BAROQUE-LUTE Subject: [BAROQUE-LUTE] Re: [delian] Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics An interesting paper from Cambridge- http://www.serenestudios.co.uk/articles/musical_crimes RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics
- Original Message - From: Mathias Rösel [EMAIL PROTECTED] Roman Turovsky [EMAIL PROTECTED] schrieb: A few years ago, I told a friend about your compositions for lute, and how you used the pseudonym Sautscheck. He was much amused. He is a retired lecturer in German, and so is familiar with the German language. He said that Sautscheck has certain pejorative connotations, but I I am unaware of that. There are a dozen S's in the German notebook. No such connotations known in German. Perhaps he heard a Denglish combination of G. Sau (sow) + E. check. Yet to German ears, there's no connotation to the name Sautschek at all. All that you can hear is that it probably stems from Bohemia or Poland (-ek), and that is by no means pejorative. Schade, it would have been a good point for Sautscheck's detractors Donatella -- Best, Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Translation for Ladino text.
birbone and birbante, brigante as well I suppose the text has something to do with what the masters used to do with their servants in the XVIII century. I'm just re-reading Pamela by Richardson Donatella http://web.tiscali,it/awebd - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: LUTELIST lute@cs.dartmouth.edu; Manolo Laguillo [EMAIL PROTECTED] Sent: Saturday, April 26, 2008 9:50 PM Subject: [LUTE] Re: Translation for Ladino text. There is a similar word in Italian- BIRBANTE. RT - Original Message - From: Manolo Laguillo [EMAIL PROTECTED] To: LUTELIST lute@cs.dartmouth.edu Sent: Saturday, April 26, 2008 3:38 PM Subject: [LUTE] Re: Translation for Ladino text. hi, Herbert, 'berbante'... for me, with modern ears, it sounds as a sort of mixture between 'bribón' (= rascal) and 'bergante' (= someone very lazy and also crook, like the Lazarillo, that famous character in the spanish novel from the XVI Cent.). Saludos, Manolo Herbert Ward wrote: Dear Manolo, Muchas gracias por la ayuda. Can you give us information about this word berbante? Herbert I was a young woman highly born (de casa alta, from a high house) I did not knew about suffering But because I came to know you You put me in the condition of a servant maid ... Yo era nina de caza alta No savia de sufrir Por caer con ti berbante Me metites a servir -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Get your own customized domain and email for $8.95/1-yr Offer ends soon. Only at http://www.doteasypromo.com/e
[LUTE] Re: Karamazov...
I expected Count Dracula to pop out from a barrel, that would have been great... and the candles, wow, the candles.. Donatella - Original Message - From: [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Friday, January 25, 2008 7:52 AM Subject: [LUTE] Re: Karamazov... Roman Turovsky wrote: http://fr.youtube.com/watch?v=rVWvfnGpF-Y Very good and activating provocation, Roman. You really made the list talk about important and interesting matters. Well done and thanks for that! And then of course my personal opinions (aren't opinions always personal?). Two views, a) about what I hear, b) about what I see: a) The musical performance: I think K plays the piece in a very guitaristic (in the 20th century sense) way, vertically, not horizontally More often than the melodies he is playing the chords. This reminds me remotely the way Glenn Gould played some of Bach's polyphony as impressionistic chord progressions. I guess K has very good technique? If he really has, I just wonder why he chooses to play the melodies (well, those fragments in between his chords) not legato, but most often portato. To my ears his melodies (the fragments) also often lack direction and shape. Some notes are actually quite crude and in some notes the sound is nearly absent. b) The video: To my taste the video is a horrible mixture of spooky B-class movie and a coffee advertisement in TV. I can see that they have tried to be deep and profound. But to me they have only achieved a parody of profoundness; I laughed when seeing the video first time. Sorry! All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Where is Santa Claus?
me too! Donatella - Original Message - From: LGS-Europe [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, December 29, 2007 10:43 PM Subject: [LUTE] Re: Where is Santa Claus? I missed Arto's links to Finnish Santa this year. David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: AW about AW-1
And finally, I could no resist buying AW-1 because it has my initials... ;-) All the best, Arto Oh yes. That's a very good point, and it's final! Donatella To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Wascha mesa, etc
- Original Message - From: Mathias Rösel [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Monday, October 08, 2007 8:28 PM Subject: [LUTE] Re: Wascha mesa, olim Amps or no Amps You might want to compare Melchior Newsidler's preface to his 1574 edition, where he seeks to avert suspicion he took sides with Italians because he published his music in Italian tablature first. -- Mathias What did he say? Donatella To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: hang 'em high
I don't know where Stephen Gibson, who asked the original question, lives, but there are places in the world where walls spontaneously move. A Southern California native knows that you should never put anything on a wall or a shelf that you wouldn't want falling on your head when the ground shakes. That's a good point... anyway Paolo Cherici, my former teacher, had his lutes hanging on the wall, with tapestry behind. I remember him saying that this is the way they used to in ancient times, so why not? As far as I know, no lutemaker has killed him up to now.. Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Durante -was:Re: Matthew Locke
http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm the link is extremely interesting. I wonder whether the examples here were used just to construct a piece on a base or to accompany. I listened to some lessons of Christensen, and according to him ( I agree) the base should build a proper piece and a dialogue with soloist- upper part, but in my experience many soloists don't like this, as they are just accustomed to some strummed chords or just a bit more than that. They get confused. There are also many lutenists who say one can't play such things on a lute, so that's something for harpsichordists. These examples remind me of how Weiss builds a suite on a base, in my opinon continuo must have been something like that. There is also a very interesting book on the subject by De La Motte. Donatella http://web.tiscali.it/awebd http://www.webalice.it/dg3011/index.htm - Original Message - From: LGS-Europe [EMAIL PROTECTED] Check what Malcolm came up with recently: Partimenti (Instructional basses) http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/index.htm David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Durante -was:Re: Matthew Locke
If we mean the same page, that's the reason of my doubt. I think they learned to compose and to accompany, so it didn't make a great difference, as it came as part of their musical vocabulary Donatella - Original Message - From: LGS-Europe [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Thursday, August 02, 2007 11:03 AM Subject: [LUTE] Re: Durante -was:Re: Matthew Locke http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm the link is extremely interesting. I wonder whether the examples here were used just to construct a piece on a base or to accompany. The forword explains quite extensively. A worthwhile read. David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [LUTE]Potatoes à la Bach -was: Re: Bac h in our attention
From: [EMAIL PROTECTED] I do not buy this implication tired of Bach = tired of music. It is like saying tired of potatoes = tired of eating. Mmh.. quite interesting... never heard of Bach compared to potatoes.. Arto, quite a risky comparison, you know what they say in Switzerland: in ogni cucina, la patata è regina ( in every kitchen potato is the queen- potato is feminine and there is the rhyme, otherwise it would be king, or emperor! ) I would also suggest spinach à la Monteverdi as dish of the day.. in case of some musical fight to come... Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 22 Spinach à la Monteverdi was:Potatoes à la Bach
mmh..good idea , so here you are, but this is just for lutenists, theorbists and those who like Monteverdi: Spinach à la Monteverdi: -boil the spinach in salted water -drain them well and cut in small pieces -fry gently in butter with some bacon -add eggs and raisins ( previously put in lukewarm water and rinsed), some cream, pine seeds, nutmeg and pepper to taste - put in the oven for about 30-40 mins, to cook the egg well Italian taste.. Donatella http://www.webalice.it/dg3011/index.htm http://web.tiscali.it/awebd Sent: Wednesday, August 01, 2007 11:18 AM Subject: Re: [LUTE] Re: [LUTE]Potatoes à la Bach -was: Re: Bach in our attention Donatella Galletti [EMAIL PROTECTED] schrieb: I would also suggest spinach à la Monteverdi as dish of the day.. in case of some musical fight to come... Donatella Hm - at this present moment I have to decide upon what to cook today and, dear Donatella, you didn't append a receipt for spinach à la Monteverdi which would have been highly welcome to me (and to others, too, I dare do add)! Sigh, Joachim -- Joachim Lüdtke, Lektorat DTP-Dienstleistungen Dr. Joachim Lüdtke Blumenstraße 20 D - 90762 Fürth Tel. +49-+911 / 976 45 20 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 22 Spinach à la Monteverdi
So.. the real Monteverdi lover will add the eggs to the ( cold) spinach after beating them with a fork and adding some salt and cream. The rasins etc go in the middle of all, mixed, like graces, and there is a question theorists have not solved yet, whether bacon is like open fifhts and octaves to the spinach, and should be avoided, or can be used, but not exposed.. ( there must be some evidence Viadana used it.. but only in good company, poliphonically speaking) I would also suggest to put the mixture in a theorbo like mould and make strings using Emmenthal cheese..or whatever our creative lutenists can suggest.. I would say 180° in the oven, or the theorbo will take fire... Eat using the 5 6 rule ( try a bit, another bit more, then less, a bit more..) rather than 7 6.. use a 9th only if you forget and let everything in the oven for hours, but in that case it won't be philologically correct, and you can also think of improvising out of any rule. buon appetito! ( An expression which, as far as I know, does not exist in English, and I can understand...) Donatella Sent: Wednesday, August 01, 2007 12:43 PM Subject: Re: Spinach à la Monteverdi Spinach à la Monteverdi: -boil the spinach in salted water -drain them well and cut in small pieces -fry gently in butter with some bacon -add eggs and raisins ( previously put in lukewarm water and rinsed), some cream, pine seeds, nutmeg and pepper to taste - put in the oven for about 30-40 mins, to cook the egg well Many thaks Donatella! Sounds delicious! So the eggs (boiled or not in water beforehand?) and the raisins etc. are set on top of the spinach and bacon? What should the temperature be? We MUST try this soon! Italian taste.. What else do we need? :-) Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [LUTE] Spinach à la Monteverdi was:Po tatoes à la Bach
Spinacino alla milanese, you mean... Donatella Sent: Wednesday, August 01, 2007 1:46 PM Subject: [LUTE] Re: [LUTE] Re: 22 Spinach à la Monteverdi was:Potatoes à la Bach This does indeed sound delicious, Donatella. But. could you please rename it Spinacino a la Milano? ed Spinach à la Monteverdi: -boil the spinach in salted water -drain them well and cut in small pieces -fry gently in butter with some bacon -add eggs and raisins ( previously put in lukewarm water and rinsed), some cream, pine seeds, nutmeg and pepper to taste - put in the oven for about 30-40 mins, to cook the egg well Italian taste.. Donatella http://www.webalice.it/dg3011/index.htm http://web.tiscali.it/awebd Sent: Wednesday, August 01, 2007 11:18 AM Subject: Re: [LUTE] Re: [LUTE]Potatoes à la Bach -was: Re: Bach in our attention Donatella Galletti [EMAIL PROTECTED] schrieb: I would also suggest spinach à la Monteverdi as dish of the day.. in case of some musical fight to come... Donatella Hm - at this present moment I have to decide upon what to cook today and, dear Donatella, you didn't append a receipt for spinach à la Monteverdi which would have been highly welcome to me (and to others, too, I dare do add)! Sigh, Joachim -- Joachim Lüdtke, Lektorat DTP-Dienstleistungen Dr. Joachim Lüdtke Blumenstraße 20 D - 90762 Fürth Tel. +49-+911 / 976 45 20 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 Free Edition. Version: 7.5.476 / Virus Database: 269.11.0/929 - Release Date: 7/31/2007 5:26 PM Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
[LUTE] Re: [LUTE] Re: 22 Spinach à la Monteverdi
I'm afraid that will be Spinach Neusiedler Manier.. ( after Spinacino) Donatella - Original Message - From: Lüdtke Joachim [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED] Cc: lute-list (Renaissance) lute@cs.dartmouth.edu; [EMAIL PROTECTED] Sent: Wednesday, August 01, 2007 3:36 PM Subject: [LUTE] Re: 22 Spinach à la Monteverdi I don't know why but I have forgotten the raisins - maybe because I am so bad at playing graces ... Bacon to quite a number of people even is Diabolus in Musica - why not use anchovies instead? As there was no cheese in the fridge I have added an onion and half a glove of garlic (La cuisine sans ail n'existe pas!). Does that make it Spinach à la Rossi? All best, Joachim Donatella Galletti [EMAIL PROTECTED] schrieb: So.. the real Monteverdi lover will add the eggs to the ( cold) spinach after beating them with a fork and adding some salt and cream. The rasins etc go in the middle of all, mixed, like graces, and there is a question theorists have not solved yet, whether bacon is like open fifhts and octaves to the spinach, and should be avoided, or can be used, but not exposed.. ( there must be some evidence Viadana used it.. but only in good company, poliphonically speaking) I would also suggest to put the mixture in a theorbo like mould and make strings using Emmenthal cheese..or whatever our creative lutenists can suggest.. I would say 180° in the oven, or the theorbo will take fire... Eat using the 5 6 rule ( try a bit, another bit more, then less, a bit more..) rather than 7 6.. use a 9th only if you forget and let everything in the oven for hours, but in that case it won't be philologically correct, and you can also think of improvising out of any rule. buon appetito! ( An expression which, as far as I know, does not exist in English, and I can understand...) Donatella Sent: Wednesday, August 01, 2007 12:43 PM Subject: Re: Spinach à la Monteverdi Spinach à la Monteverdi: -boil the spinach in salted water -drain them well and cut in small pieces -fry gently in butter with some bacon -add eggs and raisins ( previously put in lukewarm water and rinsed), some cream, pine seeds, nutmeg and pepper to taste - put in the oven for about 30-40 mins, to cook the egg well Many thaks Donatella! Sounds delicious! So the eggs (boiled or not in water beforehand?) and the raisins etc. are set on top of the spinach and bacon? What should the temperature be? We MUST try this soon! Italian taste.. What else do we need? :-) Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Joachim Lüdtke, Lektorat DTP-Dienstleistungen Dr. Joachim Lüdtke Blumenstraße 20 D - 90762 Fürth Tel. +49-+911 / 976 45 20
[LUTE] Re: Kapsperger or Kapsberger?
Sent: Tuesday, May 22, 2007 7:46 AM Subject: [LUTE] Re: Kapsperger or Kapsberger? Kapsberger, and in North America by Kapsperger. But why not ditch Kapsb/perger entirely, and play something by Biccinini instead? ajn. Because he's Italian..B/P are phonetically distinctive in Italian. Maybe K. pronunciation was just to take after the German pronunciation of the name, as voiced consonants are pronounced as unvoiced by German speaking people, or at least they are perceived as such by Italians. Something interesting: http://www.acoustics.hut.fi/publications/files/theses/lemmetty_mst/chap3.html Donatella To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Strings
I use nylgut on the baroque lute and I don't have this problem, Some mp3s can be listened at http://www.webalice.it/dg3011/ and http://web.tiscali.it/awebd ( see: about myself) Donatella - Original Message - From: Sean Smith [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Sunday, March 25, 2007 7:56 PM Subject: [LUTE] Re: Strings Nylgut, especially thin ones like the chanterelle or a 4th and 5th octave, do go false after a few months or a year. Usually they sound a little flat on upper frets. Contrarily, gut tends to go a little sharp on the upper frets over time. An unfortunate combination. Gut with gut at least goes false in the same direction. At least in my experience. Your mileage may vary, Sean On Mar 25, 2007, at 4:06 AM, Ed Durbrow wrote: On Mar 25, 2007, at 6:00 PM, Nigel Solomon wrote: Were the octaves new Nylguts? I had alot of trouble with these strings, breaking before they even got up to (low) tension, etc. and eventually gave up. That was a few years ago, may be they are a little better now? (although not from what you say) I have gone back to the faithful old Pyramids that don't sound too bad after they have been played in. No, perhaps I wasn't very clear. I wasn't saying Nylguts were not good. I was wondering if you had paired a new bass string with an OLD octave. I am assuming that the best match for an Aquila wound would be an Aquila plain Nylgut for the octave. I may be wrong. This has been much more of a problem with gut for me. When I got my 8 course some years back, it had some loaded strings which sounded gorgeous, but as soon as you moved up the fretboard they became horribly out of tune with the octave string. I don't see how Nylguts would be breaking before they get up to tension. Have you checked your nut? You might have a little burr or something. I've only occasionally had the chantarel break. YMMV Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.446 / Virus Database: 268.18.17/730 - Release Date: 22/03/2007 7.44
[LUTE] Re: been there
poveri noi ( I can't translate...) Donatella - Original Message - From: bill kilpatrick [EMAIL PROTECTED] To: lute list lute@cs.dartmouth.edu Sent: Monday, March 19, 2007 5:14 PM Subject: [LUTE] been there 'yep: http://www.youtube.com/watch?v=ByB9H1ZiuYc .. followed by: http://www.youtube.com/watch?v=-ZLIjujIUU0 ___ What kind of emailer are you? Find out today - get a free analysis of your email personality. Take the quiz at the Yahoo! Mail Championship. http://uk.rd.yahoo.com/evt=44106/*http://mail.yahoo.net/uk 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 Free Edition. Version: 7.5.446 / Virus Database: 268.18.13/725 - Release Date: 17/03/2007 12.33
[LUTE] Re: [Viols] cello - Italian
-ello in Italian usually means something cute - ino ( diminutive) means something small Birbante means something as rascal ( but it is usually used for children when they steal jam - do they still do that?) -birbantello is used for a child to joke with the fact that he actually stole jam but did it in such a nice and clever way... so we are not really angry about that Donatella http://www.webalice.it/dg3011/index.htm - Original Message - From: Howard Posner [EMAIL PROTECTED] To: lutelist lute@cs.dartmouth.edu Sent: Friday, March 16, 2007 6:58 PM Subject: [LUTE] Re: [Viols] cello From: Alice Renken [EMAIL PROTECTED] The root word here is viola. The diminutive ending is ino, giving violino, little viola. Meaning small viol, of course. ello is an aggrandizing ending, so violoncello is big viola. This is a bit backward. Ello is a diminutive, and a violoncello is a small violone. See, e.g. http://sscm-jscm.press.uiuc.edu/jscm/v12/no1/wissick.html at 2.1 http://sscm-jscm.press.uiuc.edu/jscm/v6/no2/bonta.html at 3.7 http://encyclopedia.jrank.org/VAN_VIR/ VIOLONCELLO_Fr_violoncelle_Ger_.html BTW, a few years ago (must have been before 2000), a bass player with no early music connections proudly showed me a five-string bass he'd just acquired. I forget whether it was a new instrument, and indeed have blanked on every detail that might be of interest here. 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 Free Edition. Version: 7.5.446 / Virus Database: 268.18.11/723 - Release Date: 15/03/2007 11.27
[LUTE] Re: CD
Anyone willing to get a copy should just contact me! Donatella Galletti http://web.tiscali.it/awebd - Original Message - From: Richard Brook [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Sunday, March 04, 2007 10:12 PM Subject: [LUTE] CD Does anyone know where I might get a copy of the CD 'Affetti Sonori' with Laura Santanche flute, and Donatella Galetti (Baroque) lute? Thanks. Dick Brook [EMAIL PROTECTED] 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 Free Edition. Version: 7.5.446 / Virus Database: 268.18.6/709 - Release Date: 03/03/2007 8.12
[LUTE] Re: Passacaglia for theorbo
Sent: Sunday, February 25, 2007 8:11 PM Subject: [LUTE] Re: Passacaglia for theorbo On Sunday 25 February 2007 18:13, you wrote: On occasion of her 305th birthday, Alessia Aldobrandini gave me a new piece, passacaglia per tiorba. Tab and midi on http://www.webalice.it/dg3011/index.htm enjoy! ( A version for baroque lute will follow) and perhaps the youtube version... ? any volunteers? Donatella taco Donatella http://web.tiscali.it/awebd 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 Free Edition. Version: 7.5.446 / Virus Database: 268.18.3/699 - Release Date: 23/02/2007 13.26
[LUTE] Re: Passacaglia for theorbo
Roman was asking to set proportional spacing. Tomorrow , per gli esteti ( it's night here) Donatella - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Sunday, February 25, 2007 10:31 PM Subject: [LUTE] Re: Passacaglia for theorbo Sorry, private message went to the list... RT - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu; Donatella Galletti [EMAIL PROTECTED] Sent: Sunday, February 25, 2007 4:28 PM Subject: [LUTE] Re: Passacaglia for theorbo Prima di stampare il PDF avresti dovuto cliccare il spacing proporzionale. Senza di questo sara' un casino visuale... r - Original Message - From: Donatella Galletti [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Sunday, February 25, 2007 12:13 PM Subject: [LUTE] Passacaglia for theorbo On occasion of her 305th birthday, Alessia Aldobrandini gave me a new piece, passacaglia per tiorba. Tab and midi on http://www.webalice.it/dg3011/index.htm enjoy! ( A version for baroque lute will follow) Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html _ Need personalized email and website? Look no further. It's easy with Doteasy $0 Web Hosting! Learn more at www.doteasy.com _ Need personalized email and website? Look no further. It's easy with Doteasy $0 Web Hosting! Learn more at www.doteasy.com -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.446 / Virus Database: 268.18.3/699 - Release Date: 23/02/2007 13.26
[LUTE] Re: Some Youtube
The files don't open... For a choir with a theorbo see here: http://www.youtube.com/watch?v=xfU46JTBqXomode=relatedsearch= Purcell Donatella - Original Message - From: Daniel Shoskes [EMAIL PROTECTED] To: Alain Veylit [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Monday, February 19, 2007 3:17 AM Subject: [LUTE] Re: Some Youtube I used a Canon Optura camcorder ($400) , transfered the file into iMovie, superimposed Barto's audio file over my video (just kidding!), exported the file as a quicktime file and uploaded. DS On Feb 18, 2007, at 8:41 PM, Alain Veylit wrote: Roman, and other YouTube contributors, What kind of set-up do you use? In particular, WebCams only seem to deliver 30 frames per second (half of what is needed for truly natural movement), and I would like to know if anyone knows how to get a better resolution below US dollars 3500 ... (Polycom has a system at that price and Sony offers 60fps at only USD 25,000...) Has anybody experimented with Camcorders that allow for streaming video over the net? I think Panasonic offers a couple at around 500 dollars. I am interested in this also for non-lute related issues, i.e. American sign language interpreting via video. Thanks in advance and sorry is this is a bit technical and off topic, Alain Roman Turovsky wrote: It might take several hours to get Youtube to get then active. RT - Original Message - From: Daniel Shoskes [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Sunday, February 18, 2007 7:15 PM Subject: [LUTE] Some Youtube Well, my family was out of town, I was snowed in the house with nothing to do, so I decided to set up a camera and record some lute music. Sound quality wasn't the greatest, but you get the idea. Enjoy the music, and if you think its crap, enjoy the Schadenfreude! http://www.youtube.com/watch?v=EFWl8ThdNVM (Losy chaconne) http://www.youtube.com/watch?v=6EwoYPOVJmI (Weiss d minor prelude) http://www.youtube.com/watch?v=dVlFbu-0I3g (Weiss D Major fugue) http://www.youtube.com/watch?v=6FpHar7jHBI (Weiss D Major prelude) http://www.youtube.com/watch?v=Nae0-FJcKsg (Kellner Sarabande) PS. Since they were just uploaded today, it may take a few hours before all are available. DS -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html _ Need personalized email and website? Look no further. It's easy with Doteasy $0 Web Hosting! Learn more at www.doteasy.com -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.441 / Virus Database: 268.18.1/691 - Release Date: 17/02/2007 17.06
[LUTE] Re: Bartoli lets it blast
Might be.. look at this one, I think she's great at mastering her voice in baroque affetti, I like the way whe says: tutta la vita è un mar ( all our life is like the sea --in a tempest, of course..-) Donatella http://web.tiscali.it/awebd - Original Message - From: Doc Rossi [EMAIL PROTECTED] To: Roman Turovsky [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu; Daniel Shoskes [EMAIL PROTECTED] Sent: Saturday, February 10, 2007 4:32 PM Subject: [LUTE] Re: Bartoli lets it blast I think it's just that her dress is too tight. On Feb 10, 2007, at 4:26 PM, Roman Turovsky wrote: No, it is more like Billions of Blue Blistering Barnacles (Armatae Furiae), faster! harder1 carbon fiber is it RT - Original Message - From: Daniel Shoskes [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 10:16 AM Subject: [LUTE] Bartoli lets it blast http://www.youtube.com/watch?v=X0LRwGimdY8eurl= My Italian is rusty, but I think she is yelling at the archlute player (Luca Pianca?) to re-string completely in gut. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html _ Need personalized email and website? Look no further. It's easy with Doteasy $0 Web Hosting! Learn more at www.doteasy.com -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast
I forgot.. in the one I posted by Bartoli there is the archlute in the foreground a couple of times Donatella - Original Message - From: Doc Rossi [EMAIL PROTECTED] To: Roman Turovsky [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu; Daniel Shoskes [EMAIL PROTECTED] Sent: Saturday, February 10, 2007 4:32 PM Subject: [LUTE] Re: Bartoli lets it blast I think it's just that her dress is too tight. On Feb 10, 2007, at 4:26 PM, Roman Turovsky wrote: No, it is more like Billions of Blue Blistering Barnacles (Armatae Furiae), faster! harder1 carbon fiber is it RT - Original Message - From: Daniel Shoskes [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 10:16 AM Subject: [LUTE] Bartoli lets it blast http://www.youtube.com/watch?v=X0LRwGimdY8eurl= My Italian is rusty, but I think she is yelling at the archlute player (Luca Pianca?) to re-string completely in gut. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html _ Need personalized email and website? Look no further. It's easy with Doteasy $0 Web Hosting! Learn more at www.doteasy.com -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast
strange...it sounded Italian to me. Donatella - Original Message - From: Howard Posner [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 6:45 PM Subject: [LUTE] Re: Bartoli lets it blast On Saturday, Feb 10, 2007, at 07:16 America/Los_Angeles, Daniel Shoskes wrote: My Italian is rusty, but I think she is yelling at the archlute player (Luca Pianca?) to re-string completely in gut. Well, she was singing in Latin, so your translation's a bit suspect... I found I could listen to Vivaldi CD with Giardino Armonico for about five minutes before it wore me out. Actually watching her do it reduced my tolerance period to about 45 seconds. 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast
Sorry, I checked the link, I was referring to another one Donatella - Original Message - From: Howard Posner [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 6:45 PM Subject: [LUTE] Re: Bartoli lets it blast On Saturday, Feb 10, 2007, at 07:16 America/Los_Angeles, Daniel Shoskes wrote: My Italian is rusty, but I think she is yelling at the archlute player (Luca Pianca?) to re-string completely in gut. Well, she was singing in Latin, so your translation's a bit suspect... I found I could listen to Vivaldi CD with Giardino Armonico for about five minutes before it wore me out. Actually watching her do it reduced my tolerance period to about 45 seconds. 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast
She's inviting Furies to get in arms and fight..what for is not said, I think Donatella - Original Message - From: Howard Posner [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 6:45 PM Subject: [LUTE] Re: Bartoli lets it blast On Saturday, Feb 10, 2007, at 07:16 America/Los_Angeles, Daniel Shoskes wrote: My Italian is rusty, but I think she is yelling at the archlute player (Luca Pianca?) to re-string completely in gut. Well, she was singing in Latin, so your translation's a bit suspect... I found I could listen to Vivaldi CD with Giardino Armonico for about five minutes before it wore me out. Actually watching her do it reduced my tolerance period to about 45 seconds. 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast
Windows Media cannot open it other sources the like? Donatella - Original Message - From: Gernot Hilger [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 9:18 PM Subject: [LUTE] Re: Bartoli lets it blast Strictly spoken, it is not Ozias but rather Vagaus speaking. The text is: Armed with your firebands and serpents, leaving your dark and dreadful kingdom, you cruel attendants, o furies, come to our aid. Teach us, whose hearts are full of indignation, to avenge the murder of our leader by death, with the lash and through massacre. I have uploaded (for a short time) a shortened version (copyright...) sung by Marina Comparato. There is a way to sing the coloraturas with proper pitch. www.jsbach.mynetcologne.de/armataeface.mp3 g On 10.02.2007, at 19:11, Roman Turovsky wrote: It is the part of Ozias, on discovery that Holophernes' head has been cut off. RT 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast -and back to lute
I understand what you mean, thanks for the example. The second example is more fashionable and baroque as the latest tendencies to play are, anyway in my opinion Bartoli's tecnique is far more advanced ( apart from the pitch) , as Mathias says, and she has more personality , at least in this particular piece. I don't think this is much too OT, because there are some lute players who can't be light when playing coloraturas. The notes are not very clear and separate from one another ( -- Comparato) , and this is lack of tecnique. I remember Aldo Minella, my teacher when I was studying guitar, who was never satisfied with the fast notes because in his opinon they were either too staccate or not clear enough ( when they were legate), so he wanted both, clear notes played as from a flute. What is lacking in Accademia Montis Regalis example is playing at least one measure all together on the beat, especially on colorature, she is not with the rest of the instruments, and the instruments are never perfectly together. In il Giardino Armonico's example ( I'm not a fan of this group either) it's mostly the archlute which is not together with the other instruments, always a bit late. This is annoying to me. Donatella - Original Message - From: Gernot Hilger [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Saturday, February 10, 2007 9:18 PM Subject: [LUTE] Re: Bartoli lets it blast Strictly spoken, it is not Ozias but rather Vagaus speaking. The text is: Armed with your firebands and serpents, leaving your dark and dreadful kingdom, you cruel attendants, o furies, come to our aid. Teach us, whose hearts are full of indignation, to avenge the murder of our leader by death, with the lash and through massacre. I have uploaded (for a short time) a shortened version (copyright...) sung by Marina Comparato. There is a way to sing the coloraturas with proper pitch. www.jsbach.mynetcologne.de/armataeface.mp3 g On 10.02.2007, at 19:11, Roman Turovsky wrote: It is the part of Ozias, on discovery that Holophernes' head has been cut off. RT 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: Bartoli lets it blast
There is something more I'd like to say: Italians can speak really very fast when they are angry, and I recognize her as an angry Italian when she sings about Furie. It's exactly the kind of temper and pronunciation I would expect. I like the example below less, being it Vivaldi and not ein Lied Donatella - Original Message - From: Gernot Hilger [EMAIL PROTECTED] To: Roman Turovsky [EMAIL PROTECTED] Cc: Lute Net lute@cs.dartmouth.edu; Mathias Rösel [EMAIL PROTECTED] Sent: Saturday, February 10, 2007 10:15 PM Subject: [LUTE] Re: Bartoli lets it blast To finish my part of discussing Bartoli with the statement that I never doubted that she is a fine singer if she does not try to sing fast passages like a machine gun. Listen to http://www.youtube.com/watch?v=Jr3WNaMJMA8 What a fine performance! g On 10.02.2007, at 21:47, Roman Turovsky wrote: It's her distinct way to sing those fast notes clearly. I for one like it that way (which doesn't exclude other way). -- Mathias So do I. RT 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.33/678 - Release Date: 09/02/2007 16.06
[LUTE] Re: renaissance festival books
I can't find any music, but description of what was played.. it's interesting to read about a naval battle for the Wedding in Mantua of Francesco II Gonzaga and Margherita, Princess of Savoy.-1608, http://special-1.bl.uk/treasures/festivalbooks/pagemax.aspx?strFest=0166strPage=010 , in which around Virtue there were 13 musicians, sitting, four of which were playing bagpipes, four recorders ( pifari), four trumpets and one drums ( taballi - two drums which were played together -see http://morpheus.micc.unifi.it:8080/cruscle/Controller?o=119;-40144785;2141943590;maxresults=20V=21 - ) So I can imagine how one should play a battle on a lute... Donatella - Original Message - From: Wolfgang Wiehe [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Wednesday, January 31, 2007 2:46 PM Subject: [LUTE] renaissance festival books moin just, i found this wonderful page of the british library. the subject is renaissance festival books in wonderful facsimile quality. f.e. search for music! http://www.bl.uk/treasures/festivalbooks/basics.html wolfgang -- 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 Free Edition. Version: 7.5.432 / Virus Database: 268.17.17/661 - Release Date: 30/01/2007 23.30
[LUTE] Re: Gostena
http://www.gens.labo.net/it/cognomi/genera.html Della Gostena or Dallagostena does not appear here, there is Agostena in Ligury ( which might be the surname changed for a better pronunciation) , though...anyway there is Fasce, in Ligury... there is one Goste near Trieste, which means Roman might be right... there are some Da Milano in the north, and Damilano especially in Piedmont, while Molinaro are all around ( Mulino- molino is mill) Donatella http://web.tiscali.it/awebd - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: [EMAIL PROTECTED]; [EMAIL PROTECTED]; Andrew Gibbs [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Monday, January 29, 2007 7:36 PM Subject: [LUTE] Re: Gostena The interesting detail is that surname GOSTENA and its possible derivatives are not found in Italy. Is there a possibility that the man was of an origin in the Polish-Lithuanian Commonwealth, similar to one of W.A.Dlugoraj Gostinensis? RT - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED]; Andrew Gibbs [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Monday, January 29, 2007 1:24 PM Subject: [LUTE] Re: Gostena Hi everybody, http://www.answers.com/topic/simone-molinaro Simone Colavecchi - Roma Messaggio originale Da: [EMAIL PROTECTED] matnat.uio.no Data: 29-gen-2007 4.42 PM A: Andrew Gibbs [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Ogg: [LUTE] Re: Gostena Actually it was a certain Simone Fasce. I guess it was about women and/or money... Are On Mon, 29 Jan 2007, Andrew Gibbs wrote: Was it the Americans? Andrew On 28 Jan 2007, at 15:27, Are Vidar Boye Hansen wrote: Hi all! Anyone know why Giovanni Battista della Gostena was murdered in 1593? mvh Are Vidar Hansen To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index. html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.432 / Virus Database: 268.17.14/658 - Release Date: 29/01/2007 14.49
[LUTE] Re: How does this compare to Vintage Lutes
I know of someone who owns an original baroque lute, which I think did not need much restoration, and sounds , as this person says, much better than any lute I've ever had ( speaking of a professional lutenist). A friend of mine who works in the Kunsthistorische Museum in Vienna, had found an original baroque lute in a cloister, but as she said this to someone, the lute disappeared in a very short time, I suppose it is now in the house of some lutenist.. I remember Lindberg telling me that he was spending a huge amount of money to have his lute restored, and the wood coming from Palazzo Pitti ( after a fire- some was left ) was used. Donatella http://web.tiscali.it/awebd - Original Message - From: Denys Stephens [EMAIL PROTECTED] To: lute net lute@cs.dartmouth.edu Sent: Friday, January 05, 2007 12:10 AM Subject: [LUTE] Re: How does this compare to Vintage Lutes Dear All, Judging from the talks given by Michael Lowe, Stephen Gottlieb and David Munro given at the Lute Society meeting in November about the restoration of Jacob Linberg's Sixtus Rauwolf lute, the restoration costs alone must have been quite high. There was no mention of cost, but there was clearly a lot of expert work involved. Even the replacement bars were made from salvaged sixteenth century wood. It could be that this lute is the only one with significant work dating from the sixteenth century in playable condition. Does anyone know of any others? It's a very fine sounding lute in Jacob's hands, but having heard Anthony Bailes play a modern lute in the same room earlier in the year I could not possibly say that his sound was in any way inferior. There is so much more to lute playing than the instrument! It's a while ago now, but in 1981 the Andreas Berr ivory 13 course lute of 1699 and the Magno Dieffopruchar 6 course of c. 1550 (both ivory backed lutes from the Hever Castle collection) sold at auction for £4,500 each. They were not of course in playable condition. Even at that time a vintage Les Paul Standard from the original 1958 - 61 production run would have been well above that price. Best wishes, Denys - Original Message - From: Ed Durbrow [EMAIL PROTECTED] To: LuteNet list lute@cs.dartmouth.edu Sent: Thursday, January 04, 2007 6:12 AM Subject: [LUTE] Re: How does this compare to Vintage Lutes There are not a lot of vintage lutes on the market. I asked Jacob Lindberg what he paid for his, but he said it was a secret. On Jan 4, 2007, at 10:17 AM, Narada wrote: So, has a vintage Lute ever gone for that price? Just curious, more than anything else. Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Eyeglasses
I contacted Umberto Eco, maybe he'll answer... Donatella http://web.tiscali.it/awebd - Original Message - From: [EMAIL PROTECTED] To: Wolfgang Wiehe [EMAIL PROTECTED] Cc: lute-list (Renaissance) lute@cs.dartmouth.edu Sent: Monday, November 27, 2006 11:07 AM Subject: [LUTE] Re: Eyeglasses Moin-moin, Wolfgang! That's such a one as the Narrenschiff-guy: the theologican is trying in vain to find in his books an explanation for what is happening (he is looking for a page with the foretelling of Christ's coming, e.g.). The eyeglasses mark his inability to understand. All best, Joachim Wolfgang Wiehe mailto:[EMAIL PROTECTED] schrieb: moin, this summer i saw a very early example of eyeglasses in bad wildungen/germany: the altar piece of conrad von soest (around 1400) http://upload.wikimedia.org/wikipedia/commons/5/5c/Conrad_von_Soest_002.jpg look at the right wing. w. -- Dr. Joachim Lüdtke Frühlingsstraße 9a D - 93164 Laaber Tel. +49-+9498 / 905 188 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lully's Ritournelle Italienne for 10-courser published!
Thanks Arto, I haven't seen this one yet, but the other one was very nice, go on with this... Have you also a midi of it? Donatella http://web.tiscali.it/awebd P.S. Wayne, there must be someone lurking for spam- addresses, because every time I write to the list my spam increases, or wakes up suddently. - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, October 28, 2006 11:07 PM Subject: [LUTE] Lully's Ritournelle Italienne for 10-courser published! Dear lutenists, I made my preliminary version of Lully's Ritournelle Italienne for 10-courser public. I'll add some fingerings to the tabulature later, but I am just now so eager to publish this arrangement that I cannot wait... The piece is really good, and I hope my arrangement will make at least some justice to Lully's art and genius! My brand new tab is in my page of Lully's Marche: http://www.cs.helsinki.fi/u/wikla/mus/Lully/Marche/ All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: HBO Movie Elizabeth I, P.S.
- Original Message - From: Howard Posner [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Monday, April 24, 2006 11:42 PM Subject: [LUTE] Re: HBO Movie Elizabeth I, P.S. I checked the Internet Movie Database and didn't find anything about But then Walsingham et al. persisted in setting up a sting to entrap Mary and force Elizabeth to execute her, which made it seem like Elizabeth was not in control of her own council. I have no trouble believing this one. Elizabeth waffled back and forth over what to do about Mary for years, and made it pretty clear that she didn't want to get her own hands dirty. Didn't she claim that Mary was executed without her knowledge, even after she signed the death warrant? H Well, according to Stefan Zweig, ( see Mary Stuart) Elizabeth was a real politician and a very ambiguous person, so she perfectly knew what she was doing, when she signed, but she feigned not to notice it. She acted, and later on sentenced to death Davidson, the member of the Star Chamber who had been required to bring her the document. Walsingham was very properly ( Zweig writes) ill, and Davidson substituted him. Zweig talks of a sting set up by Walsingham and writes Mary's life as a novel, maybe outdated today, for a historian, but a very fascinating reading. Carolly Erickson ( see Elizabeth) doesn't talk about the plot, but depicts Elizabeth as conscious of what she was doing. Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pastime with good company
Dear Arthur, this is extremely interesting: you mean the tune arrived someway in Quebec? How, supposedly, and when? Was it used as a hymn? Donatella http://web.tiscali.it/awebd - Original Message - From: Arthur Ness [EMAIL PROTECTED] To: [EMAIL PROTECTED]; Lute Net lute@cs.dartmouth.edu Sent: Friday, March 03, 2006 12:57 AM Subject: [LUTE] Re: Pastime with good company Dear Craig, You mean for lute? It's in Royal Appendix 58. There is a facsimile and transcription in John M..Ward,The Lute Music of Royal Appendix 58, _Journal of the American Musicological Society_ 13 (1960): 117-25. Ward also gives a history of the tune, which traveled widely. It also appears as Pas de mi bon compagni in one of the Barberiis prints. And some of you know it as De mon triste, in lute settings and ricercars by Francesco and Pierino Fiorentino. Charlotte found it in a Jesuit hymnal for the Algonquin tribe in Quebec. Most music libraries will have JAMS. The facsimile is small (it includes all the lute pieces), but the transcription will assist you. I see Denys has added information about the mensrual versions. ajn - Original Message - From: [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Thursday, March 02, 2006 4:11 PM Subject: [LUTE] Pastime with good company Dear Collected Wisdom, Is there a facsimile of the original score for Pastime with Good Company and would you know where I might find it? Many thanks, Craig To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: An American accent in lute playing?
I think it's possible, not just in vocal music, but in playing as well. I think someone made some studies about accent , language and the way one composes and plays and there is a link among them. I can usually tell the American , English and German way of playing from the Italian one. Hoppy is an exception, but he has been living in Europe for a long time. The approach to studying is also different, generally speaking, so I think one can compare the difference there usually is in a tractise made by a European or an American and the approach to a musical piece. I can also appreciate the more practical approach in playing, which makes one produce more, in the USA, without some aspects which are considered very important in Italy and are sometimes fussy, under the point of view of marketing. I think it's a cultural aspect. Italy is very much considered for design, for instance, but at a John Doe level it means that in many places in Italy ( much more than you can possibly imagine) one cannot go out without ironing clothes first or wearing colors which don't match etc.. There are a series of unwritten rules which the foreigner cannot catch and follow. In music it's the same, one finds himself in a maze of written or unwritten rules which make it possible for him to reach a high level of training and be compelled to choose another job to live on. There is even the written prohibition for people studying in Conservatorio not to play in public before finishing the ten year course, ( which students disattend) , unless one asks the headmaster for a written permission, which is such a complicated thing , burocratically speaking, that should one follow the rules, one would never play. Donatella http://web.tiscali.it/awebd - Original Message - From: Herbert Ward [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Friday, January 20, 2006 3:06 PM Subject: [LUTE] An American accent in lute playing? Do Americans play lute with a distinctive accent? By this I mean: Suppose you took a good teacher with extensive experience in both American and Europe, and had him listen, blindfolded, to 10 American lutenists and 10 European lutenists. Could he pick out the Americans with any degree of success? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Surviving in Eliz. England.
Subject: [LUTE] Re: Surviving in Eliz. England. You might be interested in this link: http://www.missouristate.edu/folksong/MaxHunter/ That's a site I liked very much, but a Trojan was found in a Real audio file ( or Media player?), and it took me some time to remove it, as Norton was blocked in doing that Donatella British Isles immigrants who wound up in the Ozarks of Missouri and Arkansas are recorded singing their traditional songs. The songs were recorded by Max Hunter between 1956 and 1976. This is more south central to south west Missouri. Like areas of Appalachia, the Ozark Hills (oldest mountains in the USA, weathered down to hills, with some Pre-Cambrian rocks exposed on the southeast side) didn't have much economic activity after the original forests were logged in the early 1900s, and has become a pocket where time slows down. The Other Stephen Stubbs To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Magnus Tieffenbrucker
I think on the Italian group list ( see yahoo . liuto.it) there is a picture of his supposed house in Venice. Donatella http://web.tiscali.it/awebd - Original Message - From: David Van Edwards [EMAIL PROTECTED] To: Christopher Challen [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Wednesday, January 11, 2006 8:13 PM Subject: [LUTE] Re: Magnus Tieffenbrucker At 9:15 AM + 10/1/06, Christopher Challen wrote: Hello all aficionados of the lute, this is my first posting and so hope it reaches you ok. Could anybody tell me Magnus Tieffenbrucker's dates please, or any other details about him. I know he worked in Venice and I've seen instruments by him dating from the late 16th to early 17th centuries, but never any evidence of his birth and death dates. Dear Chris, There are (at least) three Magno Tieffenbruckers who worked in Venice, Not to be confused with Wendelin Tieffenbrucker (aka VVendelio Venere) who worked in Padua: Magno I Tieffenbrucker [son of Ulrich (Rigo)] had a workshop at the sign of the Black Eagle in the San Guiliano district. died 1560 His wife Margherita, a native of Venice, died 1576 and is buried in San Salvador. Her will left 200 ducats and two fields valued at 100 ducats to Magno, 300 ducats to Abramo, and 200 ducats to Moises. [suggesting that Moises was the youngest?] 4 children: Magno II, Abramo, Maddalena and Moises. There were 4 other children who died prematurely one in 1550 and two in 1551 Abramo did not continue lutemaking. Magno II appears to set up a separate workshop under the sign of the Eagle. he dies sometime [Ongaro says 1576] before 1581 His widow, Madalena, dies in 1621 aged 70 Moises continues his father's workshop under the sign of the Black Eagle with his mother. After her death in 1576 he moves his workshop sometime just before 1579 from San Giuliano district to Calle dei Stagneri in San Salvador district still with the sign of Aquila Negra. Married first Fiametta Carletti daughter of Marcantonio. They had a daughter, Lucrezia Veneranda, who was baptised in 1575 .(Guilio Abondante the famous lutenist whose two books of tablature were published in 1546 1548 was a witness at the baptism in 1575) Applied for patent on varnish in Feb 1579. Granted May 1579 Fiametta died sometime before 1 April 1579. Moises remarries Veneranda Bonaventura. Died 1581 two inventories of his workshop made because of disputes about the inheritance. Magno III is therefore a necessary supposition from the existing instrument labels, including for instance the huge theorbo in the Royal College of Music dated 1608. There is also a parish census from the San Salvador district of 1594 which lists Magno, the lutemaker and his wife Anna and some journeymen. And a Magno is listed among the lutemakers in the Guild in 1629. Bletsacher also notes another Magno Tieffenbrucker working in Perugia. The situation is confused because of the habit of these German families of repeatedly using the same names for successive generations! These details come variously from Bletsacher, Toffolo and Ongaro. Best wishes, David -- The Smokehouse, 6 Whitwell Road, Norwich, NR1 4HB England. Telephone: + 44 (0)1603 629899 Website: http://www.vanedwards.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Music Therapy
As I was saying, the Alpha state is the state in the brains which one has before falling asleep, and is particularly proper to raise intellectual performance. Lozanov, a professor, invented a method which is called suggestopedia and allows you to learn foreign languages ( as he was working with them) in one tenth of the time.This has been demonstrated and in Switzerland they are making a lot of money using his method ( he did not get money out of it). One of the devices which are used is classical music, so the Mozart effect works. I think Mozart music would work or any Baroque music which is linear harmonically speaking. I made some experiments and it does work, and I also suspect my listening to classical music and playing has an influence on the plants nearby, because they usually bloom even when they are not supposed to. Donatella http://web.tiscali.it/awebd Sent: Friday, January 06, 2006 12:16 AM Subject: [LUTE] Re: Music Therapy Thanks for the skeptical link. Fascinating. I have heard all these claims that the music of Mozart has. I had an interesting experience with Mozart. I had a gig in Maui (!!) about 7 years ago [ a fantastic journey], and I took a sailboat to view the humpback whales. The captain of the boat turned off his motor, as it is apparently not legal to bring a boat to within 100 meters of a whale. But, if the whale is close, one can turn the motor off, and the whales could potentially swim up to the boat [the boat may not approach the whale]. So, the captain turned off his motor, and he turned on symphonic music of Mozart, and the whales actually did swim up to the boat went underneath (they were huge beasts). The captain insisted that Mozart would lure the whales in, because they love Mozart not other composers. This is not proof to me, as they may have swum to us out of curiosity with another composer's music, or perhaps with no music at all. ed At 01:18 PM 1/5/2006 -0500, Eugene C. Braig IV wrote: At 01:06 PM 1/5/2006, [EMAIL PROTECTED] wrote: Another potentially interesting use of music is reflected in research from a music teacher in this country (UK) which purported to show that playing Mozart to school pupils increased their capacity to learn. The so called Mozart effect was a very attractive hypothesis, but after 10 years of research, became clear that unfortunately do not exist. Even worse, the Mozart effect largely has become a sustained propaganda effort for one man, Campbell, to pedal his brand of snake oil. Here is a superficial little summary: http://skepdic.com/mozart.html Eugene To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Music Therapy
Well, I don't care much whether it has been demonstrated or not, it works for me and it's ok, and even if it did not work on my flowers, I would listen to music and play anyway. About the experiment below, did they care to check whether the people who looked after the plants liked best rock or classical music, and if this could have affected the plants growth? I mean , if these people were in a different mood when watering the plants, this is an element which should have been taken into consideration. I also read about Findorn, in Scotland, were people seem to have grown huge plants using as fertilizer loving words. I repeat it as I read it. I can tell an amusing experience I had with classical music and students: years ago I was teaching students who did not listen to anything different from hard rock, punk and the like, they were not very bright, neither were they able to concentrate, and above all they were very aggressive. I did something very daring: while they had to do a task, I had them listen to classical music ( Mozart). I expected some of them would have killed me after a few minutes or yelled to switch the tape recorder off, but unexpectedly for me, they became very calm and concentrated, and one of them who was the more addicted to rock and was not able to keep calm and sit down for more than 30'', prayed me to let the tape recorder play because he liked it. One of the students asked for permission to listen to rock music with his walkman, and after a few minutes I told him to stop. He asked why and the whole class laughed, telling him : Can't you see why? You can't concentrate and are moving on the chair every few seconds ( well, they did not use exactly these kind words..) . He looked around, realized everybody was strangely calm, and was very confused, he was not even able to answer and shut off the walkman. A real lesson for me, more than reading two hundred essays about the effect of music on people Donatella PS Happy New Year to everybody! http://web.tiscali.it/awebd - Original Message - From: Taco Walstra [EMAIL PROTECTED] To: Edward Martin [EMAIL PROTECTED] Cc: Donatella Galletti [EMAIL PROTECTED]; lutelist lute@cs.dartmouth.edu Sent: Friday, January 06, 2006 2:07 PM Subject: [LUTE] Re: Music Therapy On Friday 06 January 2006 13:56, you wrote: The effects of music on plants. H. this is another fascinating myth. I saw a TV show this past autumn, called the Mythbusters. Thus us a funny show, where a hypothesis in the form of a myth is either confirmed or busted. In this episode, they set up identical greenhouses, in which one had voices arguing loudly telling the plants they 'sucked', one had Mozart, one had pleasant voices telling the plants they were beautiful, and one with loud, trashy, bashing and booming heavy metal rock. Of the 4 greenhouses, 3 had little deviation. The one with the most obvious positive growth was the loud rock greenhouse. Ergo Donatella should play from now on heavy metal on her lute and not this lousy baroque stuff and her plants will produce even more blooming flowers. Taco ed At 01:31 AM 1/6/2006 -0800, gary digman wrote: - Original Message - From: Donatella Galletti [EMAIL PROTECTED] To: lute lute@cs.dartmouth.edu Sent: Friday, January 06, 2006 1:10 AM Subject: [LUTE] Re: Music Therapy and I also suspect my listening to classical music and playing has an influence on the plants nearby, because they usually bloom even when they are not supposed to. Donatella Such validation, to know that even the plants respond to one's music. Of course, the only way to be sure is to have the same plants in an environment identical in every way except for the absence of music, and see how they fare. All the Best, Donatella, Gary 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: [EMAIL PROTECTED] voice: (218) 728-1202
[LUTE] Re: Music Therapy
( I suppose this was for the list as well) Donatella - Original Message - From: Satoshi Hayakawa [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED] Sent: Friday, January 06, 2006 11:03 AM Subject: Re: [LUTE] Re: Music Therapy Dear Donatella and Dear friends, Unfortunately, most scientists and physicians are skeptical about so called Mozart effect. From late 1990s, several researchers reported increased capacity to respond in visuospatial-type tasks after exposure to music by Mozart. However, so far there are no conclusive data evidenced on double-blind test with many samples. There are many pro- or con Mozart effect articles, obtainable through EnterezPubMed site. www.ncbi.nlm.nih.gov/entrez/query.fcgi Scientific legend of Mozart effects is reviewed well in Bangerter A, Heath C. The Mozart effect: tracking the evolution of a scientific legend. Br J Soc Psychol. 2004 Dec;43(Pt 4):605-23. As a a gynecologist I enjoy Mozart and other baroque and classical music as well as Renaissance and Baroque lute music during surgery. On the other hand, my residents prefer Queen Paul Rodgers, John Lennon or Japanese modern popular music . Satoshi HAYAKAWA M.D.Ph.D. Associate professor in Infectious disease Control, Reproductive Immunology , Obstetrics and Gynaecology Nihon University Medical School To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Music Therapy
Sent: Friday, January 06, 2006 4:36 PM Subject: [LUTE] Re: Music Therapy Edward Martin wrote: Of the 4 greenhouses, 3 had little deviation. The one with the most obvious positive growth was the loud rock greenhouse. Were they growing marijuana plants? I do think so!! Donatella Roman Turovsky wrote: Stockhausen is known to shrink trees into shrubbery. I believe it was people that it shrunk into shrubbery, but maybe I'm thinking of a different experiment. HP To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Music Therapy
My understanding of using music in the operating room is that it relaxes the surgeon and helps him/her focus on doing the operation right. Similarly it is possible to relax the patient in circumstances where (s)he is awake and this would help the treatment (eg in the dentist's chair). I read that the patient can listen to his favourite music even in the operating room when apparently unconscious, and recover more quickly, especially if the surgeon says something to encourage him in this sense, while operating. Another potentially interesting use of music is reflected in research from a music teacher in this country (UK) which purported to show that playing Mozart to school pupils increased their capacity to learn. Presumably lute fantasies would have an even stronger effect :-) The reason is simple: whatever puts you in an Alpha state enhances you to concentrate and work- or study- better.Classical music can do it, rock and pop can't, because of their rythm and the distortion of sound which they often have, not to speak of subliminar messages which are often inserted and are perceived by the brain distracting it from a difficult task like operating. In my experience, even classical music can be distracting: I used to have a history of music teacher who liked to explain while Marco Rizzi ( now a famous violinist) who was a student at the time, was practising in the nearby room.The teacher was not a musician. As soon as I heard Rizzi playing Bach or some other, I couldn't listen to the words of the history teacher anymore, because I was completely absorbed into the music, which was much more beautiful... Some other thoughts: when the musician plays for music's sake and not to show how skilled he his, he's giving out himself and love at the same time, that's the reason why a concert or a good CD can be theraphy, to me it's more a matter of love and support going around, rather than a job you should be taught. Donatella http://web.tiscali.it/awebd Eric Crouch -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Arto-WAS: OT: Re: We are performing etc.
Yes Arto, it's a tradition, you can't hide us the site of Santa Claus, this year! Donatella - Original Message - From: [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Wednesday, December 21, 2005 4:12 PM Subject: [LUTE] OT: Re: We are performing at The Cloisters on December 30, 2005! We call this kind of Building Immobilien (Immobiles?) in germany so it seems the term doesn't match reality (if something immobile is moved - is it still immobile?). Hey Arto - I'm missing your tales/reference to the home of St.Claus! Instead I could deal with a more military variant (but quite neat): http://www.noradsanta.org/de/default.php (the german version) or http://www.noradsanta.org/ will give details about St.Claus, too :-) Best wishes Thomas Why should this be considered unusual? Funamentally it is no different from purchasing a work of art (painting or sculpture) or an antique musical instrument (whether it be a lute or an ophicleide or an organ) at auction and bringing it home with you. Some people just have more money available for such activities than others do. DFH All the best and Happy Christmas! Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Joulupukki - Santa C. Was: Arto...
Of course he must exist, there are even videos showing him speaking!! I'll try and ask him for a new lute, one can never tell... Thanks and Buon Natale a tutti! Donatella Cc: lute@cs.dartmouth.edu; [EMAIL PROTECTED] Sent: Wednesday, December 21, 2005 4:59 PM Subject: [LUTE] Joulupukki - Santa C. Was: Arto... Hi lutenists On Wed, 21 Dec 2005, Donatella Galletti wrote: Yes Arto, it's a tradition, you can't hide us the site of Santa Claus, this year! Ok, ok! :-) I just thought nobody anymore believes in Santa Claus in this modern world of today... BTW his real name is Joulupukki, in Finnish. Here are some links: Santa Claus' Village on the Arctic Circle in Finnish Lapland, lots of info: http://www.santaclausvillage.info/ Der Weihnachtsmann, also lots if info, in German, includes even webcams and livecams! You can see what Joulupukki is doing just now! http://www.finland.de/santaclaus/ Stories, games, webcam on the Arctic Circle, etc. http://www.santaclaus.fi/ Merry Christmas to all lutenists and other players too! Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pittoni,-more -
chord on the G# played on the 4th course of an A theorbo with a lower E on the second), but the use of the stronger thumb on the bass note effectively dominates the chord. Finally, you'll be aware that in the Biblioteca Estense Modena there's a (later?) manuscript which has a 'violino' part added to some of the Op2 sonatas. I don't think the composer of these has been established; in my view the style is not quite like P's but more work needs to be done to establish authorship. The hand is neat and could be that of a copyist - perhaps someone with better knowledge than me of the MS in this collection could establish this? MH n Arto Wikla [EMAIL PROTECTED] wrote: On Sun, 4 Dec 2005, Donatella Galletti wrote: Pittoni! Spes Edition Yes! Ferrara 1669. Lots of Sonate da Chiesa and Sonate da Camera! The only problem is the tuning; seems to be so that in places the second string or choir should be in upper octave, in other places in lower octave! Andrea Damiani(?) has speculated in the LuteBot that perhaps a choir of two stings - high and low - could solve the problem. Does anyone in the List have any practical experience of performing Pittoni? All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - Yahoo! Model Search - Could you be the next catwalk superstar? Check out the competition now --
[LUTE] Re: Theorbo and continuo
Pittoni! Spes Edition Donatella http://web.tiscali.it/awebd - Original Message - From: dc [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Sunday, December 04, 2005 11:29 AM Subject: [LUTE] Theorbo and continuo I played a long time ago a few Kapsberger pieces for theorbo with a figured bass (on the organ), and am wondering if there's anything else for a solo theorbo and continuo. Thanks, Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pittoni, was: Theorbo and continuo
Yes, I performed it both with harpsichord and organ, and I think it's great fun. I don't remember about the problem with tuning, but I did not play all of the sonatas Donatella PS Arto, where is the site where we can see Father Christmas and his deers? Lots of snow in Milan, it looks like the big North.. http://web.tiscali.it/awebd - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED] Cc: dc [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Sunday, December 04, 2005 11:57 AM Subject: [LUTE] Pittoni, was: Theorbo and continuo On Sun, 4 Dec 2005, Donatella Galletti wrote: Pittoni! Spes Edition Yes! Ferrara 1669. Lots of Sonate da Chiesa and Sonate da Camera! The only problem is the tuning; seems to be so that in places the second string or choir should be in upper octave, in other places in lower octave! Andrea Damiani(?) has speculated in the LuteBot that perhaps a choir of two stings - high and low - could solve the problem. Does anyone in the List have any practical experience of performing Pittoni? All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: tele-Teaching
That's an idea! I might be interested in teaching, my Diploma di Conservatorio was on renaissance lute, archlute, baroque lute, theorbo , baroque guitar and continuo ( yes, it seems a lot but I also studied a lot, it takes 10 years to get a Diploma in Italy..) Donatella http://web.tiscali.it/awebd - Original Message - From: Craig Allen [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Monday, November 21, 2005 6:12 PM Subject: [LUTE] Re: tele-Teaching Charles wrote: Here is some food for thought! There was an article in the Daily Telegraph (UK national broadsheet) today about an english jazz pianist who was having jazz-piano lessons by telephone/email with a teacher who was based in Chicago. The teacher would send the music via email and then listen to the pupil playing over the 'phone. Is there not an opportunity for some enterprising lute teacher(s) to do something similar, if not better, with Broadband? I think a better application would be video conferencing. That way the lute teacher could see if the student was using thumb in or out and doing whichever properly. And this concept is not really science fiction. Many universities and other professional organizations are using video conferencing for remote classrooms and doing it over the internet. I can now attend the University of Arizona in Phoenix for example from the comfort of my personal office in my home in Maryland. I remember when I was a child and my parents took me to the New York World's Fair. We went into the ATT exhibit to see the video phones, what would be the wave of the future. Of course it was all a mock up using simple monitors and microphones, but it did predict in a crude way the technology I now work with on a daily basis. Video codecs, voice and video over IP whether using broadband or ISDN. Great stuff. Regards, Craig P.S. But I still want my personal rocket pack that futurists have been promising since the early 20th c. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: french baroque lute painting
That's my very same thought, and one possibility might be a painter's school, as he used to paint the main subject and leave the painting to be finished by his pupils , skilled sometimes and sometimes not so talented Leonardo is said to have painted an angel in a Verrocchio's painting, his master at the time, and Verrocchio was jeaolous about the result, as everybody praised Leonardo's angel. Anyway, I can't understand why a master would have risked his reputation with such a mistake in the lute neck. Donatella http://web.tiscali.it/awebd - Original Message - From: Ed Durbrow [EMAIL PROTECTED] To: David Van Edwards [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Monday, November 07, 2005 4:38 PM Subject: [LUTE] Re: french baroque lute painting I'd really like to hear what an art critic would say. It seems amazing to me that someone who could paint faces and other detail so well could utterly screw up a lute. I notice the fellow is playing off of the right side of his fingers too. On Nov 6, 2005, at 2:43 AM, David Van Edwards wrote: The picture is an anonymous French School painting in Hamburg Kunsthalle and was featured on the front cover of Early Music magazine in October 1982. The whole picture makes it clear that it's mostly a perspective problem, since the bridge also is on at an impossible [and opposite] angle. The rose is set grossly to one side as well. But the whole painting is magnificent and gives very much the spirit of the instrument, which looks like a converted Italian yew-wood lute with a French style silver lace round the edge. It may well be that the player did have his frets on at various angles as many players do today to adjust intonation. What is noticeable from the whole painting is that the player has his little finger resting BEHIND the bridge in a postion where lots of surviving museum instruments have wear marks. Thus he is playing very close to the bridge. This may have influenced Bob's choice of picture, since he has been talking a lot of late about the evidence of playing close to the bridge. But from the CD section one can't tell this of course! The red strings are interesting and are not that illogical since they are on the bass side of each course from the fifth downwards. A perfect example of loaded strings and very bright red. In case anyone is interested in seeing the whole painting I'll put it up on my site at http://www.vanedwards.co.uk/hamburg.htm Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: french baroque lute painting
Maybe the mistery is solved ( there is a parallel discussion on the Italian list), just try to look at it from below at a 20 degrees angle, bottom right corner.After that, look at the face from above, same angle, center /right. Did the visitor go up the stairs, while looking at it? Donatella - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Monday, November 07, 2005 10:02 PM Subject: [LUTE] Re: french baroque lute painting Dear Donatella et al, On Mon, 7 Nov 2005, Donatella Galletti wrote: Anyway, I can't understand why a master would have risked his reputation with such a mistake in the lute neck. Perhaps he is just sitting on the cloud of painters heaven and smiling with a wide mouth, while reading us now... He really could paint so that we still in the 2005 talk about his painting... :) All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gut strings and nails- Dalla Casa
That's my point, we just think to play like they used to do in the past, but now and then something comes out to show us we are still far away... Donatella - Original Message - From: Thomas Schall [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Sunday, October 30, 2005 11:08 AM Subject: [LUTE] Re: Gut strings and nails- Dalla Casa Dear Donatella, it seems one of the mysteries to be solved in the future are those of string making. Mimmo is doing a great Job as well as manufacturer as as researcher but I think I won't be wrong if I would say: We still don't have an idea of how the strings were produced. We just need to accept the fact that there were players using nails playing gut strings - conclusion could be that our string material is not of the same quality than that they had. Dear Danyel, could you provide an email, a postal adress and/or telephone number of Nick Baldock. I've already heard of him and that he would produce great strings but lost the contact details. Possibly others on this list would be interested, too. Best wishes Thomas Am Sonntag, 30. Oktober 2005 00:01 schrieben Sie: Hi Donatella, that is very interesting. As for gut strings surviving nails, we should bear in mind that prior to the 1940s all kinds of instruments were played with gut strings, including Milanese mandolins, the oud etc.; I don't know what gut strings you use, but the ones provided by Nick Baldock survive years of strong plucking with a stiff eagle feather on a daily basis. the third course on my Timurid lute has been on ever since I got the instrument 3 years ago and hasn't even frailed yet. I think gut is actually a very strong material. Is the story about Francesco not more like a legend? Best wishes, danyel - Original Message - From: Donatella Galletti [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, October 29, 2005 11:26 PM Subject: [LUTE] Re: Gut strings and nails- Dalla Casa Dear All, I'm just going through the book by Dalla Casa ( BTW, some pieces are in tablature on my web site, perhaps anybody out there is willing to add a piece? ), and there is a portrait of him playing his arciliuto francese ( which is in fact an archlute). Cristoforetti in his introduction of the SPES edition says the strings were made of gut , nevertheless Dalla Casa played with long nails, as it can be seen in the picture. Doesn't a gut string get worn out in two days, when played like that? Were gut strings different from ours? Any suggestions? Francesco da Milano used to play with long silver nails, and this is also something which exceeds my understanding of gut resistance.. Thanks Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] ab 15.7. neue Adresse: Wiesentalstrasse 41 CH-8355 Aadorf ++41 (0) 52 365 00 04 http://www.lautenist.de http://www.lautenist.de/bduo/ http://www.lautenist.de/gitarre/ http://www.tslaute.de/weiss/
[LUTE] Re: french baroque lute painting
Thanks, Edward. In my opinion, considering the body of the instrument and the lenght of the lutenist's forearm and fingers, he had no other way to play, because keeping his hand toward the rose would have meant to have his shoulder and wrist in such a position to suffer from pain in thirty minutes playing... I 've just checked the painting of Gabbiani of a baroque lutenist ( on my site http://web.tiscali.it/awebd ), and he's apparently resting after having struck the last chord, nevertheless the right hand is in the very same position, the little finger still resting on the table, and in this case his arm and e fingers are very long. I suspect this position was good for back, wrist and shoulders, and it is the same position - I mean the one in Gabbiani- Aldo Minella ( guitarist, one of the 4 pupils of Segovia ) uses and teaches. I've used it for years on the guitar and I found it very convenient, even after 8 hours practising. Both pictures remind me someway of Paolo Cherici, but I don't know whether there are still pictures of him on his site, there used to be some.. Donatella - Original Message - From: David Van Edwards [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Saturday, November 05, 2005 6:43 PM Subject: [LUTE] french baroque lute painting Dear Taco, The picture is an anonymous French School painting in Hamburg Kunsthalle and was featured on the front cover of Early Music magazine in October 1982. The whole picture makes it clear that it's mostly a perspective problem, since the bridge also is on at an impossible [and opposite] angle. The rose is set grossly to one side as well. But the whole painting is magnificent and gives very much the spirit of the instrument, which looks like a converted Italian yew-wood lute with a French style silver lace round the edge. It may well be that the player did have his frets on at various angles as many players do today to adjust intonation. What is noticeable from the whole painting is that the player has his little finger resting BEHIND the bridge in a postion where lots of surviving museum instruments have wear marks. Thus he is playing very close to the bridge. This may have influenced Bob's choice of picture, since he has been talking a lot of late about the evidence of playing close to the bridge. But from the CD section one can't tell this of course! The red strings are interesting and are not that illogical since they are on the bass side of each course from the fifth downwards. A perfect example of loaded strings and very bright red. In case anyone is interested in seeing the whole painting I'll put it up on my site at http://www.vanedwards.co.uk/hamburg.htm Best wishes, David hi all, I was just looking at the picture on the latest Barto-Weiss CD showing a luteplayer with a french baroque lute. Looks quite normal until you look more careful. Two interesting things: 1. There are 6 red strings indicating loaded gut for strings where normally normal gut would be sufficient. 2. A very strange position of the pegbox. If you look at the white bone part which forms the bridge for the strings from fingerboard to pegbox, you notice that it's not parallel to the frets. The distance between the bone and first fret is smaller for the topstrings than for the bass strings. This could be a mistake by the painter having difficulties with drawing the angle of the pegbox, but it could also be a design to give more length to the bass strings. I think the latter is more logical. Never seen something like that on other paintings or modern copies. Taco -- The Smokehouse, 6 Whitwell Road, Norwich, NR1 4HB England. Telephone: + 44 (0)1603 629899 Website: http://www.vanedwards.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gut strings and nails- Dalla Casa
Dear All, I'm just going through the book by Dalla Casa ( BTW, some pieces are in tablature on my web site, perhaps anybody out there is willing to add a piece? ), and there is a portrait of him playing his arciliuto francese ( which is in fact an archlute). Cristoforetti in his introduction of the SPES edition says the strings were made of gut , nevertheless Dalla Casa played with long nails, as it can be seen in the picture. Doesn't a gut string get worn out in two days, when played like that? Were gut strings different from ours? Any suggestions? Francesco da Milano used to play with long silver nails, and this is also something which exceeds my understanding of gut resistance.. Thanks Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Rizzio ( was:Antwort: Re: S. de Murcia )
Well, there is a very passionating reading about Mary Stuart , in fact it's a biography written by a historian, Stefan Zweig, but it is written like a novel. It says Rizzio was a violinist, lutenist, singer , composer and he also wrote sonnets.He could speak Italian, French, Latin. He arrived in Scotland with Marchese Moreta, the ambassador from Savoia, Piedmont, and Mary asked to keep him there. He soon became private secretary to the Queen and had some problems, let's say, being a Catholic among Protestant nobles. The murder is described as in a film, the Queen was expecting of five months, Darnley, her husband, in agreement with the conjurers, in front of her denied knowing anything of the matter. They had accessed the private apartments of the Queen to which just the Queen and the King had the key. Rizzio was meant to be imprisoned and hanged , but as they were savagely together they stabbed him more then 50 times, then threw him from the window. The Queen appeared to have forgiven Darnley ( not forgotten, as she said when the baby, the future James VI - I of England- was born), but Darnley died in an explosion of a summer palace, just after the Queen had had her precious bed removed...James I is the one who wrote the famous letter to Elizabeth in which he did not object executing his mother if he had become king of England - I suppose he was son of Darnley..- The story takes three or four chapters of the book, a must, in my opinion, for all lutenists.. I saw the room some time ago in Scotland, very interesting one. Donatella http://web.tiscali.it/awebd - Original Message - From: Martin Shepherd [EMAIL PROTECTED] To: Lute Net lute@cs.dartmouth.edu Sent: Friday, May 13, 2005 2:06 PM Subject: Re: Antwort: Re: S. de Murcia As for Rizzio: I happened to be in Edinburgh recently, and visited Holyrood House. There is a portrait of Rizzio there, which shows him holding a violin - just what we would expect for a famous lute player... The account of his murder by Mary's hsuband and his cronies also claims that he was stabbed 45 times, 56 times, (just think of a large number and you can make your own claim on the truth) that he was dragged outside and murdered, that his body lay where he fell (in an upstairs room, very close to where the portrait is hung nowadays), that he was playing the lute at the time, and so on. If ever there was a case of muddle and wishful thinking, this is it. I guess that no one really knows how many people were involved in the murder, or when and where and in what manner it happened. But that doesn't stop people inventing all sorts of things... My guess is that Rizzio was a musician, principally a violinist. Or is that not romantic enough? Scientifically yours, Martin [EMAIL PROTECTED] wrote: There would be many possible movies about lute-players and their adventures. What was about Rizzo who was said to have a close relationship to Mary? Dowland as predesessor of James Bond? The life of the english Gaultier as adventure? Are there some vihuelanista-stories to add? With a tiny bit of fantasy I could make a fantastic script out of Corbetta's life (must be a french movie because it wouldn't have a happy end) ... Best wishes Thomas Lex Eisenhardt [EMAIL PROTECTED] am 13.05.2005 11:14:08 An:Monica Hall [EMAIL PROTECTED], vihuela vihuela@cs.dartmouth.edu Kopie: Thema: Re: S. de Murcia It may be a good subject for a Milos Forman movie: 'Santiago' So it goes. His biography is pure fiction! And Salieri didn't murder Mozart either... Monica To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html CONFIDENTIALITY : This e-mail and any attachments are confidential and may be privileged. If you are not a named recipient, please notify the sender immediately and do not disclose the contents to another person, use it for any purpose or store or copy the information in any medium.
Re: FW: Lute related podcasting
That's something quite new to me.. there are many musicians and students of Conservatori in Italy, willing to play, and some even accept playing while people are chatting at a party, or eating. And there are many people who would like to have music without paying musicians, because , as a friend once told me ( he had refused to play) you know, waiters are to be paid (--and there is no money left for musicians--) Back to the original message: there are some pieces of mine (playing Weiss etc) in mp3, both on my sites and on Roman's.They're copyrighted but I offered them on the net -free- Donatella http://web.tiscali.it/awebd - Original Message - From: bill kilpatrick [EMAIL PROTECTED] To: G.R. Crona [EMAIL PROTECTED]; LGS-Europe [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Sunday, April 17, 2005 12:35 PM Subject: Re: FW: Lute related podcasting in a way, having easy access to non-paid, pirated music could be a real boon for solo performers or small ensembles willing to play without the digital crutch. a friend of mine is searching for a musician to entertain guests at her 140th birthday party (she and her husband celebrate their birthdays together) and you wouldn't believe how difficult it is to arrange. i live in the sticks here in italy and what you usually get is someone with a fisarmonica or electronic keyboard and an enormously loud, unbelievably obnoxious, karaoke sound system - they're everywhere! trying to find someone who simply plays without all the electronic crap is impossible. it's got to come full circle. the more musicians surrender to the dubious charms of digitalia, the more disposable - ultimately - they become. one musician or a small group performing live, unplugged ... ahhh! .. will become - if it hasn't already - precious and well worth - one hopes - the heavy maintenance. - bill --- G.R. Crona [EMAIL PROTECTED] wrote: No, no, you're getting it all wrong. I never said you should not pay for downloading magnatune music. What I'm saying, or rather asking, is: Is there any podcasting out there on lute related matters? If not, I believe there should be. The whole idea about podcasting is to upload home-made stuff onto the net, which others can then partake of, comment, learn from etc. This does not have to become a discussion of what should be paid to someone or other, bur rather that the lute field could embrace podcasting as a medium to propagate lute matters. G. On 4/17/05, LGS-Europe [EMAIL PROTECTED] wrote: Sure, everyone knows about the magnificence of magnatune, but you can't save those files, only listen to them in real time. What you pay is what you get, I mean, you can _buy_ them, like a normal cd, as if _real_ people made those recordings, people who deserve to get paid for their work. I like it when people buy my cds, not just borrow, and I'm sure you like to get paid for your work. David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Send instant messages to your online friends http://uk.messenger.yahoo.com
Re: lute outreach -tuning..
My Hasenfuss- Weigert baroque is also factory tuned, as a gambist joking told me. I hardly ever need to tune , especially if I don't change keys or if the weather is not too wet. I use a mixture of Aquila and Pyramid strings. (Ok, hardly ever means every two, three days, but I've just had a wonderful wine with a dessert which is a specialty from Piedmont and I feel quite optimistic...) Donatella http://web.tiscali.it/awebd - Original Message - From: Michael Thames [EMAIL PROTECTED] To: LUTE-LIST lute@cs.dartmouth.edu; Roman Turovsky [EMAIL PROTECTED] Sent: Tuesday, April 12, 2005 7:52 PM Subject: Re: lute outreach 1. Carbon strings held tuning throughout the 10-hour overnight ride to Cleveland. 11th course octave was a little flat in the morning. I didn't touch a peg for the rest of the weekend So let me get this straight, your saying over a three day period from NY. In different rooms, hotel, houses, concert hall etc. you didn't touch a peg other than your 11th course. You are either pitch challenged, or prone to spinning tall tales, most likely both! Michael Thames www.ThamesClassicalGuitars.com - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: LUTE-LIST lute@cs.dartmouth.edu Sent: Tuesday, April 12, 2005 9:28 AM Subject: Re: lute outreach P.S. 2 interesting details: 1. Carbon strings held tuning throughout the 10-hour overnight ride to Cleveland. 11th course octave was a little flat in the morning. I didn't touch a peg for the rest of the weekend. 2. Our program is on a controversial side, and it might (and should) have caused considerable consternation on the part of clergy of 4 denominations present (including an archbishop). But Mar'jana's act consisted largely from the songs she collected at the Carpathian fertility rites, which are basically Pagan, and outright scabrous. Imagine what was going on in celibate heads. RT __ Roman M. Turovsky http://polyhymnion.org/swv To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: guitarists -Soave
I visited Città di Soave some years ago, and I got a very useful booklet about the wine. There is also an ancient castle to visit, with a torture chamber, probably for out of tune musicians.. lutenists, in particular..mostly those who did not appreciate wine, and a wonderful view on the hills around. San Zeno, the bishop of Verona from 360 to 372 taught how to grow vines. In 490 , Cassiodoro, the ministry of Teodorico, wrote about a wine which was very similar to Recioto di Soave. Dante Alighieri, who stayed in Verona, is said to have been inspired by the wine in his verse of Purgatorio , XXV , Guarda il calore del sole che si fa vino giunto all'umor che dalla vita cola. Gerolamo Fracastoro, a famous doctor who lived from 1478 to 1553, talked about it as a vino spumante, and this was 150 years before Champagne was invented. The description of Recioto di Soave goes as follows: Colore giallo paglierino ( = straw like yellow color) Sapore gradevole, dolce, caldo, pieno di mandorla, immediato e suadente ( = very good to taste) For the poor people abroad, try this cake ( I made it, I can assure the result is guaranteed), from the booklet: Fogassa de pomi a la me maniera -Apple cake 3 eggs 150gr sugar 100 gr butter 250 gr white flour salt 1 teaspoon baking powder Filling: 3 apples 50 gr raisins 50 gr amaretti ( the Italian cookies with almonds and egg whites) a spoonful minced almonds 3 spoons sugar 1/2 a glass of Recioto Soak 2 apples ( sliced), macaroons, almonds, raisins, sugar in wine for about one hour. Mix butter, sugar, egg yolks, flour, salt, baking powder, and whipped egg whites. Pour half the mixture in a greased tin and add the filling, then pour the rest of the mixture and the 3rd apple, sliced. Bake 180° for about 50 mins. Enjoy! Donatella http://web.tiscali.it/awebd - Original Message - From: Stuart LeBlanc [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Tuesday, April 12, 2005 5:21 PM Subject: RE: guitarists I looked it up, there is a DOGC Recioto di Soave which is white, like plain old Soave. Like Roman said, all Recioto is made from the ears of grape bunches, and they are dried before being pressed, frequently affected by moderate noble rot. -Original Message- From: Craig Allen [mailto:[EMAIL PROTECTED] Sent: Tuesday, April 12, 2005 8:30 AM To: lute@cs.dartmouth.edu Subject: RE: guitarists Tim wrote: The only reciato I've had was Amarone, and that was a pretty intensely flavored red wine. Not something to go with a simple meal. Are there white reciotos as well? Reciotto di Valpolicella Amarone is the DOC (or Italtian legal) name of the wine. The intense flavor comes from the fact that it is made from the outer grapes which are dried or raisened before being crushed. My understanding is that the Amarone name probably comes from Vaio Amaron, the name of the vineyard originally owned by Serego Alighieri, a member of Dante Alighieri's family. I've never had this wine but it sounds like a wonderful Italian red. I doubt that it comes in white. Regards, Craig ___ $0 Web Hosting with up to 200MB web space, 1000 MB Transfer 10 Personalized POP and Web E-mail Accounts, and much more. Signup at www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Blind players and memory
That's it. Guitarists have a problem with sight reading, maybe because they are trained not to, and I can say that as an ex guitarist who wanted to be able reading music as any other instrument player.. Donatella http://web.tiscali.it/awebd - Original Message - From: [EMAIL PROTECTED] To: Michael Thames [EMAIL PROTECTED]; Arto Wikla [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Monday, April 11, 2005 1:54 PM Subject: Re: Blind players and memory Michael, I found that many guitarists memorize simply because they are _such_ poor readers. I know this was the case with myself in the beginning and I've seen it happen to most of my students as well. However, since I've delved into the lute world and learned to play in multiple tunings with different forms of tab, as well as continuo, I've found my ability to read modern notation has increased dramatically. The up-side of this is that I'm a lot more versatile as both a soloist, ensemble player, and general musician: there's absolutely no need for me to panic if I get a phone call late at night looking for someone to fill in tomorrow. The down-side is that I find it much more difficult to memorize due to the simple fact that I now play much, MUCH more music. I like to think that everything I perform is just as polished as when I had just a few pieces in my repertoire ready to go at any single time. Everything is just as prepared from a technical and musical standpoint - there's absolutely no sight reading involved! I like to think that this ability is every bit as professional (if not more so) as the player who only memorizes a solo concert. I hope that an audience understands this and is willing to cut me some slack when I've got paper in front of me. Chris --- Michael Thames [EMAIL PROTECTED] wrote: Arto, As I've said, I site read now more than I memorize. As having come from a classical guitar back ground,where everyone memorizes, I found this lutenistic tradition of only site reading ( written in stone) a bit perplexing. I've asked for sources citing evidence for this lutenistic tradition, yet no one has come forward, with anything. Sorry to use the term amateur,or non professional, but I was not using them in a derogatory way. As far as where you look,as your playing,I could careless. This is all stage presence and up to each individual performer, to with as they see fit. All I can say is most super star classical performers thesedays tend to memorize their music. If I want to hear the music I'll stay home and put on a CD, but if I pay $50.00 a ticket I hope you could recite Romeo and Juliet,without a script, between you,and the audience. Michael Thames www.ThamesClassicalGuitars.com - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: Michael Thames [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Sunday, April 10, 2005 2:29 PM Subject: Re: Blind players and memory Dear Michael and all On Sun, 10 Apr 2005, Michael Thames comments: This brings to mind another point in the debate about performing from memory or score. Ever notice how most guitarists stare at their hands while playing, while a few look into the rafters or close their eyes (drawing divine inspiration, perhaps)? I wonder which exhibit greater professionalism I would say that you might want to consider the music above all. However, it is nice to see a performer in a setting where one might get the impression that it's he, or she, and the audience, and not a third party love affair with your sheet music. It is so difficult to me to take any offence, if someone is using the sheet music. It is in a way the contrary: When someone is playing a big program by hart, I am so worried, and also symphatise and pity the poor performer that it really diminishes my ability to relax and enjoy the music! An extreme case was in the Nordic Baroque Festival in 2001, where Pieter Wispelway had a concert, where he played ALL the six Cello Suites by certain J.S. Bach. He did it well, very well. But he played by heart, and that is why I was all the time very worried... ;-) And by the way, many times during the concert he was looking to the ceiling of the church, probably wishing help from the divine forces? ;) Anyhow, I would have enjoyed more of the conert, if he had had the music stand in front of him! It doesn't have mattered, if there were empty papers or today's newspaper on the stand... Summa summarum: If you improvise, you improvise. If you play - if you repeat - the music composed by another, you are perfectly allowed to use the sheet music. Why not? At least that does not diminísh MY experience... Arto To get on or off this list see list information at
Re: Il Sig Napolitano
Well, it says we don't know much, in fact. I'll try to write more as soon as I have time Donatella - Original Message - From: sterling price [EMAIL PROTECTED] To: BAROQUE-LUTE@cs.dartmouth.edu Sent: Tuesday, March 15, 2005 1:22 AM Subject: Re: Il Sig Napolitano Hi- I have been playing some of this music and transcribing some pieces. I would like to know more about the music, composer and L'Arcileuto Francese. The into in the book is all in Italian:( Sterling Price --- Donatella Galletti [EMAIL PROTECTED] wrote: Dear All, I've just published a piece kindly transcribed by Thomas Schall, for the Baroque --pdf--, on Dalla Casa page on my site. ( go to tab and midi files --your contributions ) On the page there is also the version for archlute. Anybody willing to send more material transcribed from this book? Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html __ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/
Re: lute competition
That reminds me of an exam I had to take, in which a harpsichordist who was supposed to judge, had never seen and I suppose heard a baroque lute ( heard of, I should say..), so she started with quite silly questions about the difference between a renaissance lute and a baroque ( mine, in fact), showing her competence in its entire splendour... Donatella http://web.tiscali.it/awebd - Original Message - From: Roman Turovsky [EMAIL PROTECTED] To: gary digman [EMAIL PROTECTED]; Michael Thames [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Thursday, March 31, 2005 5:01 PM Subject: Re: lute competition Well oiled, sure. Define competent. Apparently you do not consider anyone with a page of music in front of them competent. Gary Digman For example: Cardin is not competent to run, but probably competent enough to sit on the jury. One possible solution is limit the jury panel to NONlutenists, given our propensity toward partisanship. RT http://polyhymnion.org To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
my folders
Thanks to everybody ( many..) who answered on the list or privately. I know that a website is useful anyway, even for people who chance upon it and never write, but sometimes one needs some good feedback, you know... I'm considering the idea of manufacturing them for export, as Roman says. We have very nice paper carta di Varese and carta di Firenze, hand painted, in Italy, like the one covering the modern folder with rings. saluti a tutti! Donatella http://web.tiscali.it/awebd PS for those who have difficultries in finding the page, look for my folders in the index, above, with a new on the right. I'm enquiring about the picture of the silver strings. - Original Message - From: gary digman [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Wednesday, March 30, 2005 9:26 AM Subject: Re: Re: Printing and Binding Dear Donatella; Your folders are beautiful and very much in keeping with baroque aesthetic practices. You set them up wonderfully with the flowers and your decorative pebbles. They would add to the ambience of any concert. All the Best, Gary Digman - Original Message - From: Donatella Galletti [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Tuesday, March 29, 2005 10:35 AM Subject: Re: Re: Printing and Binding So, more than a hundred visits in two days and just a single comment...shall I think everybody is busy building their own folders on my design or that they are awful? Sometimes one should need some feedback when spending half a day to put something online, just to get complete silence in response... Donatella http://web.tiscali.it/awebd - Original Message - From: Charles Browne [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Monday, March 28, 2005 5:10 PM Subject: RE: *** SPAM *** Re: Printing and Binding Dear Donatella, yes please, I would like to see what you have described. I think I have seen such examples in Venice together with glass pens from Murano and paper that looked too good to write on! I seem to remember one shop that sold minature books as 'minimal libraries' that were either free-standing or could be hung on the wall. I suppose that it would be impossible to remove all traces of today's world when seeking authenticity. When we had a six-day power cut after the storms in January I did think of playing by candle-light but I gave up in disgust as I couldnt see anything. best wishes Charles -Original Message- From: Donatella Galletti [mailto:[EMAIL PROTECTED] Sent: 27 March 2005 21:36 To: lute@cs.dartmouth.edu Subject: *** SPAM *** Re: Printing and Binding Strange...I've just done it after years I had quit... I use a light folder, cut it in two A4 pieces, line them with kind of Florence paper, '500 -'600 like, glue the edges of the lined A4 to a cotton ribbon, the kind which is cut in diagonal and with two folded edges (sorry, I don't know the English name for that..and even the Italian one, but it certainly has..), fold the upper and lower external edges of the ribbon and glue them, then cut another piece and glue it on it in the inner side of the folder. I also glue cloth triangles on the angles, 8 silk light ribbons to close the book, and if I feel like, a painting of the period in the inside cover . I group the papers, I glue the edge and press it on the ribbon inside the book Done. Pattex or Uhu glue will do. I can't play Baroque or Renaissance if I see plastic around the pages.. I was thinking of putting some pictures on my website, might they be of use? Donatella http://web.tiscali.it/awebd - Original Message - From: Charles Browne [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Sunday, March 27, 2005 8:58 PM Subject: Printing and Binding And now for something completely different! given that there is so much tablature available in downloadable form, I have found that printing and binding of A4 sheets is becoming a regular chore. I have been using plastic comb binders to complete the process, which creates a document that opens fully on the music stand, but I am going to get a thicker file professionally bound with thermal 'glue' binding. I also wondered about using professional printing services to print larger documents as my domestic printer takes hours to print in best quality, especially when I use duplex printing. What does everybody else use and are there some ideas that could be of benefit to us all? best wishes Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Re: Printing and Binding
So, more than a hundred visits in two days and just a single comment...shall I think everybody is busy building their own folders on my design or that they are awful? Sometimes one should need some feedback when spending half a day to put something online, just to get complete silence in response... Donatella http://web.tiscali.it/awebd - Original Message - From: Charles Browne [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Monday, March 28, 2005 5:10 PM Subject: RE: *** SPAM *** Re: Printing and Binding Dear Donatella, yes please, I would like to see what you have described. I think I have seen such examples in Venice together with glass pens from Murano and paper that looked too good to write on! I seem to remember one shop that sold minature books as 'minimal libraries' that were either free-standing or could be hung on the wall. I suppose that it would be impossible to remove all traces of today's world when seeking authenticity. When we had a six-day power cut after the storms in January I did think of playing by candle-light but I gave up in disgust as I couldnt see anything. best wishes Charles -Original Message- From: Donatella Galletti [mailto:[EMAIL PROTECTED] Sent: 27 March 2005 21:36 To: lute@cs.dartmouth.edu Subject: *** SPAM *** Re: Printing and Binding Strange...I've just done it after years I had quit... I use a light folder, cut it in two A4 pieces, line them with kind of Florence paper, '500 -'600 like, glue the edges of the lined A4 to a cotton ribbon, the kind which is cut in diagonal and with two folded edges (sorry, I don't know the English name for that..and even the Italian one, but it certainly has..), fold the upper and lower external edges of the ribbon and glue them, then cut another piece and glue it on it in the inner side of the folder. I also glue cloth triangles on the angles, 8 silk light ribbons to close the book, and if I feel like, a painting of the period in the inside cover . I group the papers, I glue the edge and press it on the ribbon inside the book Done. Pattex or Uhu glue will do. I can't play Baroque or Renaissance if I see plastic around the pages.. I was thinking of putting some pictures on my website, might they be of use? Donatella http://web.tiscali.it/awebd - Original Message - From: Charles Browne [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Sunday, March 27, 2005 8:58 PM Subject: Printing and Binding And now for something completely different! given that there is so much tablature available in downloadable form, I have found that printing and binding of A4 sheets is becoming a regular chore. I have been using plastic comb binders to complete the process, which creates a document that opens fully on the music stand, but I am going to get a thicker file professionally bound with thermal 'glue' binding. I also wondered about using professional printing services to print larger documents as my domestic printer takes hours to print in best quality, especially when I use duplex printing. What does everybody else use and are there some ideas that could be of benefit to us all? best wishes Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Printing and Binding
So, they're online... follow the link baroque folders Donatella http://web.tiscali.it/awebd - Original Message - From: Steve Ramey [EMAIL PROTECTED] To: lute@cs.dartmouth.edu; [EMAIL PROTECTED] Sent: Monday, March 28, 2005 1:10 AM Subject: Re: Printing and Binding Hi Donatella, Your binding technique sounds interesting. Speaking only for me, I'd always like to see works of art such as the way you describe your bindings. I'll bet the rest of the folks on the list would, too. Best, Steve Ramey Donatella Galletti [EMAIL PROTECTED] wrote: Strange...I've just done it after years I had quit... I use a light folder, cut it in two A4 pieces, line them with kind of Florence paper, '500 -'600 like, glue the edges of the lined A4 to a cotton ribbon, the kind which is cut in diagonal and with two folded edges (sorry, I don't know the English name for that..and even the Italian one, but it certainly has..), fold the upper and lower external edges of the ribbon and glue them, then cut another piece and glue it on it in the inner side of the folder. I also glue cloth triangles on the angles, 8 silk light ribbons to close the book, and if I feel like, a painting of the period in the inside cover . I group the papers, I glue the edge and press it on the ribbon inside the book Done. Pattex or Uhu glue will do. I can't play Baroque or Renaissance if I see plastic around the pages.. I was thinking of putting some pictures on my website, might they be of use? Donatella http://web.tiscali.it/awebd - Original Message - From: Charles Browne To: Lutelist Sent: Sunday, March 27, 2005 8:58 PM Subject: Printing and Binding And now for something completely different! given that there is so much tablature available in downloadable form, I have found that printing and binding of A4 sheets is becoming a regular chore. I have been using plastic comb binders to complete the process, which creates a document that opens fully on the music stand, but I am going to get a thicker file professionally bound with thermal 'glue' binding. I also wondered about using professional printing services to print larger documents as my domestic printer takes hours to print in best quality, especially when I use duplex printing. What does everybody else use and are there some ideas that could be of benefit to us all? best wishes Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
Re: Printing and Binding
Strange...I've just done it after years I had quit... I use a light folder, cut it in two A4 pieces, line them with kind of Florence paper, '500 -'600 like, glue the edges of the lined A4 to a cotton ribbon, the kind which is cut in diagonal and with two folded edges (sorry, I don't know the English name for that..and even the Italian one, but it certainly has..), fold the upper and lower external edges of the ribbon and glue them, then cut another piece and glue it on it in the inner side of the folder. I also glue cloth triangles on the angles, 8 silk light ribbons to close the book, and if I feel like, a painting of the period in the inside cover . I group the papers, I glue the edge and press it on the ribbon inside the book Done. Pattex or Uhu glue will do. I can't play Baroque or Renaissance if I see plastic around the pages.. I was thinking of putting some pictures on my website, might they be of use? Donatella http://web.tiscali.it/awebd - Original Message - From: Charles Browne [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Sunday, March 27, 2005 8:58 PM Subject: Printing and Binding And now for something completely different! given that there is so much tablature available in downloadable form, I have found that printing and binding of A4 sheets is becoming a regular chore. I have been using plastic comb binders to complete the process, which creates a document that opens fully on the music stand, but I am going to get a thicker file professionally bound with thermal 'glue' binding. I also wondered about using professional printing services to print larger documents as my domestic printer takes hours to print in best quality, especially when I use duplex printing. What does everybody else use and are there some ideas that could be of benefit to us all? best wishes Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Sacred music for baroque lute /Melk
There is a chapel inside the Palace of Queluz, 5 km from Lisboa, with a sort of upper chamber with a beautiful baroque hole with a golden grid, as far as I remember . Musicians used to play upstairs and the royals sat below the hole. Scarlatti played there and the chapel was open for the Mass to the people of the village ( I can't see how, because it's quite small, but the notes I read there said so, maybe they just left the door towards the yard open). They also used to celebrate royal marriages there, if my memory about what I read is not mistaken. Of course it's quite difficult to find this chapel mentioned on a tourist guide, they just mention the gardens, Versailles-like and the mirror room. Should you adventure there, just sit and listen, that's what I did, and the music seemed to be still there. You come to the chapel through a small corridor, considering the palace, and this baroque feast is in front of your eyes. There are also some big windows above, which open on the corridor (and on the yard), as far as I remember, so that the music was probably brought to the nearby room as from a resonance chanber ( is my English correct?) . The room must be like a big instrument itself . Of course, no photographs allowed, and no postcards of the place...maybe on the net.. Donatella http://web.tiscali.it/awebd - Original Message - From: AJN (boston) [EMAIL PROTECTED] To: LUTE NET lute@cs.dartmouth.edu Sent: Friday, February 25, 2005 6:29 PM Subject: Re: Sacred music for baroque lute The lute books seem to have been for personal use, Pater (later Abbot) Herman Kniebandl, for example. But there are sacred pieces in two of the books from Gruessau (Mss 2009?? and 2011 now in Warsaw). I imagine the use of secular music in the monasteries may have been local option. The magnificent mountainside Monastery at Melk maintained an orchestra in the 18th cen. which played for visitors from a hidden room. (e.g., the emperor stayed at Melk while travelling). (The sounds issued through a circle-shaped window above the banquet hall. Otherwise secular music was apparently prohibited the monks, with one exception. Every year the monks were bleed, and for a few days thereafter the orchestra was permitted to play minuets while the monks recuperated.. But the question is an interesting one. That is, secular music in sacred places. As well as sacred music in secular places. Now about Johann Michael Sciurius aka? Eichörnchen? Is that a valid German family name? AJN. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Il Sig Napolitano
Dear All, I've just published a piece kindly transcribed by Thomas Schall, for the Baroque --pdf--, on Dalla Casa page on my site. ( go to tab and midi files --your contributions ) On the page there is also the version for archlute. Anybody willing to send more material transcribed from this book? Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Liuto Concertato
Well, the Echo reminds me of some Handel, but I can't place it. I think the position of some chords on the seventh is not what Weiss usually does. In some cases there is a possibility to take the notes on the second fret, but it might be more confortable to keep the hand on the 7th , as a modern guitarist would do. Therefore, it might be a later piece. There are not so many movements in the base, which is not typical of Weiss, and I would add he would have never just doubled such simple melodies. There is also something strange in one of the last dances, in the harmonies, is it possible a mistake? The right melody is repeated after a few bars an octave lower. It was a pleasure reading it, thanks, Thomas! Donatella http://web.tiscali.it/awebd - Original Message - From: Thomas Schall [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Thursday, February 24, 2005 3:34 PM Subject: Re: Liuto Concertato Hi Markus, I know you already read the preface where I mention the topics you are asking. When first playing through this piece (and other pieces of this manuscript) my first thought was feels like Losy, the second certainly not (S.L.) Weiss. You told me it could also be Sigismund (Weiss). I haven't check the existing work by Sigismund against the piece published here. As I don't know of any chamberwork by Losy I cannot tell for sure who wrote this piece and think we need to tell it anonymus although the quality of the piece shows an experienced composer so it could be Losy or Sigismund .. In the Baron piece I am not playing the dotted rythmns of the recorder (which makes sense in this piece because of the different set-up of the piece - and I like the resulting rythmical figures - it has something jazzy) while I anticipate the flutes playing in this Liuto Concertato - most of the time the melodies are the same and it would sound like splutter if I wouldn't do this. Although I think it's written in a different tradition when it would have been expected from the lute player to play dotted (not tell it inegal :-)) I don't know what Bob Barto and Charly Schröder were thinking but as often in the baroque it's a matter of taste - and the taste at that time would suggest to anticipate the dotted rythmn of the flauto while on later music following a more modern approach (independant voice leading) I would be willing to discuss this ... Best wishes Thomas P.S.: If someone should be interested in parts I can easily produce them. Am Donnerstag, 24. Februar 2005 15:06 schrieb Markus Lutz: Hi Thomas, a nice work indeed. Two questions arise with this chamberwork: - Who is the author of it? S.L.Weiss or his brother, or his father??; Losy or someone else?? The work in itself has a strong thematic and stylistic congruence. Harmonically there aren't too much surprises, but the harmonies always are very full and well set. - Interesting not only for this piece is the incongruence of the flute and the lute rhythmically: The lute has in the original straight eighths, where has the flute notes are dotted. How to play that? In the same way (dotted) or not? The same problems are for instance in Baron's music When I played the recorder suite in d minor, I played straight and not dotted as the flute. That is possible, but also might be wrong. Interestingly Robert Barto has told me, that he and his former duo partner Charly Schroeder had different opinions on that also. How do you play it? Groovy or according the notation? Best Markus On Thu, 24 Feb 2005 14:12:48 +0100, Thomas Schall wrote: TS Hi all, TS TS I just finished entering a new piece of music for my homepage. TS There was a discussion about it recently on this list. Jerzy Zak thinks it's TS by S.L.Weiss. I cannot follow his opinion but it's an interesting concert and TS I am sure you'll like it. TS TS You'll find the piece on my homepage http://www.lautenist.de or direct link TS http://www.lautenist.de/LiutoC.pdf TS TS If someone should find mistakes or has suggestions or questions please feel TS free to contact me. TS TS Best wishes TS Thomas TS -- TS Thomas Schall TS Niederhofheimer Weg 3 TS D-65843 Sulzbach TS 06196/74519 TS [EMAIL PROTECTED] TS TS TS TS To get on or off this list see list information at TS http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html TS -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED]
Re: composers style, analysing for
Well, I suggest that we drop using e-mail and meet in a pub (or Italian Trattoria) , so that the machine does not interfere with the real thing. I also suggest that all the people living on the other side of the pond take a ship, possibly a galeon, to come to Europe, so as not to spoil the philological zest we are looking for... Waiting for you all in Italy! Donatella http://web.tiscali.it/awebd - Original Message - From: Alain Veylit [EMAIL PROTECTED] To: Arto Wikla [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Sunday, February 20, 2005 1:08 AM Subject: Re: composers style, analysing for Arto, Da Vinci argued that painting was superior to sculpture on the grounds that sculpture was messy and dirty and involved generally more muscle effort than painting. I have always had a problem with the holy sanctity of human imagination and the composer's all-important intention - these are myths that come down to us from Rousseau and 19th century music publishers who could claim that they are selling you the real thing. Lutes are little machines, technologically very advanced devices that involved precise scientific knowledge on the part of their makers. In a very real way, musicians are dependent on the current state of technology and their imagination can be both constrained and liberated by machines. Finally, the receivers of a work of art are not just judges: they are active participants who can profoundly alter the function and purpose of an object. Art is not just in the eye of the beholder, it is the eye of the beholder. That's why I guess Duchamp presented his public with a urinal: so they could transform it into art, without any intervention on his part. Picasso transformed the wannabe-art of Africa into a valuable commodity in the West. Africans just kept on doing what they had being doing all along - at least for a while. Lots of people get paid a lot of money to let you know what you should see and think about when you see a real work of art. Some people get paid even more to let you know how much that is worth exactly. Obviously, it is in those people's interest to have you think that this had really nothing to do with the dirt, dust, and excremental fluids generally witnessed in the real world, or the laws of the market. Yet, increasingly, art is made with machines: microphones, digital media, software, TV, etc. Without those machines, you would not be enjoying the latest Hoppy Smith, POD or Herringman CD. Granted a machine is only as intelligent as the person who uses it, but this is no reasopn to debase it like Da Vinci debasing Michelangelo's chisel. So wannabe-art and machines don't belong together. Alain Arto Wikla wrote: But at the end, I totally agree with James: The only importantant art is made by men/women! And the reciever is the judge! There just is, and has been, that much of wannabe-art that could easily been produced by machines, too. The real thing - whatever it is or could be? - cannot be achieved without human makers! All the best Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Sautscheck portraits?
Of course, Roman is a very talented artist... and I would say a real artist in general.. There are some drawings of the Sautschecks on my website, but as they were found among the documents of Alessia Aldobrandini, they were not made by a Sautscheck.. Roman can tell you more about the other portraits, one was on his website, for some time, maybe it's still there. On his website there are some documents found last year, I think, about a Sautscheck (no fake) , and I would not be surprised, should someone find a real portrait. Donatella http://web.tiscali.it/awebd (a vostro uso e pericolo!) P.S. Sorry to double the message to both lists, I saw Thomas Schall answered on the Renaissance list.. - Original Message - From: Rob MacKillop [EMAIL PROTECTED] To: baroque-lute@cs.dartmouth.edu Sent: Sunday, February 20, 2005 12:25 PM Subject: Sautscheck portraits? Roman, you and I have not always seen eye to eye, but yesterday I viewed your website devoted to your own paintings. What a talented artist you are (of, course, you don't need me to tell you that)! It made we wonder if you have ever discovered or painted portraits of the Sautscheck clan? Rob MacKillop www.rmguitar.co.uk http://www.rmguitar.co.uk/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Antwort: Re: new pieces for lute - Zamboni
There is some Ialian music of the same period, for archlute, I think in manuscripts, and I also heard it played, quite nice. Unfortunately, the owners do not want it to be published or rehearsed.I suppose there must be much more.. There is a possibility to browse Italian libraries online (titles), I think I found Francesco Da Milano starting from biblioteche pubbliche Milano Lombardia in Google. Sorry I can't find the link now... Donatella http://web.tiscali.it/awebd - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Cc: lute@cs.dartmouth.edu Sent: Tuesday, February 08, 2005 9:34 AM Subject: Antwort: Re: new pieces for lute - Zamboni Dear Ed, Gianoncelli is good. I also enjoy Melii (in spite of many printing mistakes) and Kapsberger. There are also some modern pieces out which makes well-sounding repertoire (to name an example: I like the settings of Satie published by TREE). By the way: Zamboni is nice and entertaining music - I just don't like comparision of the kind Mathias did (Apfel mit Birne we say in germany - if you compare things ignoring the difference). Zamboni's importance is that he represents a time when not much lute music was printed in italy anymore. And to a certain degree shows why this is the case. Surely the italian style and among it maybe or even properly the lute music (although I suspect it's more the way of continuo playing on a lute Weiss heard in Rome - but this is only guesswork) would have some influence on the young Sylvius. But he developed this style and - it surely was only one influence among many. Baron makes a good reading regarding the development what he calls mixed style. He praises it as using the best from both (french and italian) worlds and creating something new. Best wishes Thomas Ed Durbrow [EMAIL PROTECTED] am 08.02.2005 08:37:10 An:[EMAIL PROTECTED], lute list lute@cs.dartmouth.edu Kopie: Thema: Re: new pieces for lute - Zamboni Actually Zamboni is flat and very simple music (often not much more than simple I-IV-V). Very entertaining but not comparable in any kind to the music of Weiss So what is really worth having for archlute solo? I only have Gianoncelli 1650 right now. I'm expecting my archlute to arrive in April, now. -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html CONFIDENTIALITY : This e-mail and any attachments are confidential and may be privileged. If you are not a named recipient, please notify the sender immediately and do not disclose the contents to another person, use it for any purpose or store or copy the information in any medium.
Re: horizontal spacing in tablature
Alain said: Sent: Tuesday, February 08, 2005 7:30 PM Subject: Re: horizontal spacing in tablature This is where it seems to me, in the past couple of years, a tendency has grown to consider that small software developers like me, who do it on the side of their real job, cannot possibly offer the same level of quality as the big companies like Finale or Sibelius can, with their full-time large teams of bright ivy-league graduate programmers. As a result of that trend, I think, people have been investing sometimes hundreds of dollars into those software simply because it seems to them that if it costs 800$ it is bound to suit their all needs, when in fact a much cheaper, amateurish piece of software could have done the job better. Well, I don't think of Finale as a user friendly program, and in my opinion it has a great lack of flexibility, which results in taking three times as much to write a bar. I think a music program should help to spare time ( which Django actually does do), so that no one would feel in need to think: I write it by hand, if I need it, because it's faster, the program is just to publish properly. And I would not call amateurish a program written by a programmer who can also play the lute and knows the needs of musicians much better than teams of bright ivy-league graduate programmers. Thank you Alain! Donatella http://web.tiscali.it/awebd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Arto: Carbon fiber strings
I think Mimmo Peruffo sent an extremely interesting letter about wound strings and their size on ancient instruments, but I can't find it at the moment, and I don't know whether he will feel like writing to this list again, because apparently he was not treated in a very kind way. I was not receiving the messages at the time, so I can't judge, but there was a thread about that on the Italian list.. --and maybe the letter about wound strings was on the Italian list-- Donatella http://web.tiscali.it/awebd - Original Message - From: Martin Shepherd [EMAIL PROTECTED] To: lute list lute@cs.dartmouth.edu Sent: Thursday, January 27, 2005 2:54 PM Subject: Re: Arto: Carbon fiber strings Dear All, As far as I know, all the talk about how wound strings dramatically improved the lot of the poor lute player as soon as they were invented (c.1660) is just wishful thinking. If there is evidence of the use of wound strings on any kind of lute before the 20th century I have not yet seen it (yes I know there are the fragments of open-wound strings, *possibly* dating from the 18th C, on the Mest lute). On the contrary: 1. Iconographic evidence suggests that wound strings were used on bowed instruments but not lutes (sorry I can't find the references, but Mimmo Peruffo has studied the iconography and has found paintings which show both types of instruments together, which seems pretty convincing). 2. Mace (1676) and Burwell (c.1670) make no mention of wound strings, only the usual minikins and catlins. Mace of all people would surely have told us of this newfangled invention (and would probably have disapproved of it, especially if it had suddenly become fashionable). 3. The 13c swan-neck design, as Ed Martin has said, only makes sense if uncovered gut strings (of whatever type) were used. Interestingly, the change (described by Burwell) from the 12c lute (with two heads) to the 11c lute (with a single head) in France was attributed at the time to the fact that the sound of the (long) basses was too big and smothered the sound of the other strings. In modern times (wishful thinking again) it has been attributed to the invention of wound strings which enabled the basses to be shorter! Best wishes, Martin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
