[LUTE] Re: The lute list is retiring soon
Dear Wayne, I would also like to chime in and express my gratitude for your generous activity. I learned quite a lot on this list, and as an extra bonus I could also improve my English by reading and writing about topics I love. Thank you and best wishes for your retirement! Stephan Am 22. August 2020 21:04:06 MESZ schrieb Wayne : Hi - I have been running this lute mail list since 1998, and it has been interestin g and fun. Now I am retiring from my job at Dartmouth College, and when I retir e the computers that I have run will be shut down. This includes the mail serv ers that run the lute mail list. So it is time to retire from running the lute mail list too. I will also be closing my lute web page, my lute tablature page, and "Lutes For Sale" web page. If someone wants to take up running the lute mail list I suggest that they ann ounce it on my list in the next month, while my list is still running. My list runs using software that I wrote, and I don't recommend that someone else try to use it. I don't know the last day yet, but I will make an announcement when my list actually closes. Wayne To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Diese Nachricht wurde von meinem Android-Gerät mit K-9 Mail gesendet. -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Julian Brean has died
Thank you, Rainer. Only recently watched some sequences on YouTube, he was so magically intense. Come to think of it, the first classical guitar concert I went to hear was by him here in my hometown in 82, I think. And this legendary lute society course some years ago made me stop breathing. He had everything a musician can hope to attain. Stephan Am 14. August 2020 22:12:26 MESZ schrieb Rainer : [1]https://www.bbc.com/news/entertainment-arts-53777949 To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Diese Nachricht wurde von meinem Android-Gerät mit K-9 Mail gesendet. -- References 1. https://www.bbc.com/news/entertainment-arts-53777949 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Online tuition
Does anyone have a solution for the massive and changing compression in Zoom and elsewhere? Even if I uncheck automatic volume control it behaves like having a life of its own. I have a proper microphone and a USB Interface, but still... Having taught 32 students per week (on three days), I also think it works, but you earn your money hard, it's quite exhausting... Good luck Stephan -Ursprüngliche Nachricht- Von: lute-...@new-old-mail.cs.dartmouth.edu [mailto:lute-...@new-old-mail.cs.dartmouth.edu] Im Auftrag von Michal Gondko Gesendet: Samstag, 11. April 2020 14:24 An: lute@cs.dartmouth.edu Betreff: [LUTE] Online tuition Dear All, I’m currently offering online lessons. Two HD webcams (one for close-ups). External mic for improved sound quality. Tested Zoom (recommended), FaceTime (good), Skype and Messenger (possible but not recommended). Open to players of all levels. If interested, feel free to get in touch (via http://michalgondko.info/contact/ or social media). It does work! Best wishes, stay healthy. Michal To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Portuguese Lute Music anyone?
One of the vihuela manuscript sources has a connection to Portugal, I think it's the one with the drawing of a lute (!) player in a copy of a vihuela print. Cannot look it up at the moment. Regards Stephan Am 30. Dezember 2019 18:13:31 MEZ schrieb Joaquim Silva : As far as I know, there is no Portuguese source of lute/vihuela music, only some cancioneiros, keyboard music and church music. Maybe you could intabulate some of these compositions. Here you have a small ex ample: <[1]http://www.jasilva.me/01/QuiereseMorirAnton.pdf> Joaquim A. Silva No dia 30/12/2019, à s 11:44, Tristan von Neumann escreveu: Why does the search term "Portuguese Lute Music" not yield any results?... I'm sure there was some kind of lute instrument and music. Any info? To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Diese Nachricht wurde von meinem Android-Gerät mit K-9 Mail gesendet. -- References 1. http://www.jasilva.me/01/QuiereseMorirAnton.pdf 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pierre Gaultier & Francois Richard
In the age of easily and often enough even freely available electronic copies of manuscripts I see no advantage in buying an unedited copy. It's quite disappointing to get one of these from one of our respected lute societies with all the original inconsistencies and mistakes and no critical comment. At least it should be made clear that it's not the standard critical edition what is sold. Regards Stephan Am 20. Dezember 2019 23:28:21 MEZ schrieb "G. C." : mere^1 /m������/ adjective 1. used to emphasize how small or insignificant someone or something is. On Fri, Dec 20, 2019 at 10:25 PM Stephan Olbertz <[1]stephan.olbe...@web.de> wrote: Hm, real critical editions or mere typeset copies? Regards Stephan Am 20. Dezember 2019 21:09:12 MEZ schrieb Nancy Carlin <[2]lsaq.edi...@gmail.com>: The LSA has just finished publishing all of Doug Towne's edition of Weiss's London manuscript and we plan to publish next Pierre Gaultier's Les Ouvres 1638 and Francois Richard's Airs de Cour, 1637 - also in editions made by Doug. We are looking for someone to write a short introductions to these 2 collections of music - where they fit into the world of lute music, etc. We are also looking for a couple of more people to write CD reviews. If you are interested in doing any of this please email me. Nancy Carlin -- Diese Nachricht wurde von meinem Android-Ger�� ��t mit K-9 Mail gesendet. -- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:stephan.olbe...@web.de 2. mailto:lsaq.edi...@gmail.com 3. [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Diese Nachricht wurde von meinem Android-Gerät mit K-9 Mail gesendet. -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pierre Gaultier & Francois Richard
Hm, real critical editions or mere typeset copies? Regards Stephan Am 20. Dezember 2019 21:09:12 MEZ schrieb Nancy Carlin : The LSA has just finished publishing all of Doug Towne's edition of Weiss's London manuscript and we plan to publish next Pierre Gaultier's Les Ouvres 1638 and Francois Richard's Airs de Cour, 1637 - also in editions made by Doug. We are looking for someone to write a short introductions to these 2 collections of music - where they fit into the world of lute music, etc. We are also looking for a couple of more people to write CD reviews. If you are interested in doing any of this please email me. Nancy Carlin -- Diese Nachricht wurde von meinem Android-Gerät mit K-9 Mail gesendet. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Test 9od temperament)
You wouldn't even need a tuner. Just set a fifth fret so high that you can still enjoy and work your way through all the other frets and open courses by means of comparing octaves and unisons. Use strings that are neither too old nor too new. And be sure to tune to a fourth based tuning. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Roland Hayes Gesendet: Freitag, 26. Juli 2019 13:36 An: Martyn Hodgson; lute@cs.dartmouth.edu; Steve Ramey Betreff: [LUTE] Re: Test 9od temperament) Or you could get a meantone tuner and use your ears and not a measuring tape Get [1]Outlook for Android __ From: lute-...@cs.dartmouth.edu on behalf of Martyn Hodgson Sent: Friday, July 26, 2019 4:52:38 AM To: lute@cs.dartmouth.edu ; Steve Ramey Subject: [LUTE] Re: Test 9od temperament) Dear Steve, Yes - the recent leading topic of the day (lute fretting temperaments) also suddenly dried up! Perhaps it's to do with advocates of various unequal temperaments being put on the spot to actually give the fret positions they supposedly employ. Also see below MH Martyn Hodgson wrote: Haven't got anything from the list for a couple days. This is only a test. Steve -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html This message is intended only for the use of the individual or entity to which it is addressed, and may contain information that is privileged, confidential and exempt from disclosure under applicable law. If the reader of this message is not the intended recipient, or the employee or agent responsible for delivering the message to the intended recipient, you are hereby notified that any dissemination, distribution, or copying of this communication is strictly prohibited. If you have received this communication in error, please notify us immediately by telephone and return the original message to us at i...@legalaidbuffalo.org -- References 1. https://aka.ms/ghei36 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What precisely is meant by 'meantone' temperament on the lute? was Re: Lute Temperaments
Martyn wrote: "Much is freely bandied with phrases about 1/4 comma, 1/6 comma, 1/8 comma and other unequal temperaments but rarely ... is it ever spelt out what precise numerical fretting positions are actually employed..." ..or what comma is used, one might add. It does make a difference, and also historically the two commas were differently favoured for calculating temperaments. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Martyn Hodgson Gesendet: Dienstag, 23. Juli 2019 09:27 An: lute@cs.dartmouth.edu list Betreff: [LUTE] What precisely is meant by 'meantone' temperament on the lute? was Re: Lute Temperaments Further to all this, but on a slightly different tack: what precisely is it that individuals mean when they advocate some particular form of unequal temperament on the lute? Much is freely bandied with phrases about 1/4 comma, 1/6 comma, 1/8 comma and other unequal temperaments but rarely (indeed never in this latest thread) is it ever spelt out what precise numerical fretting positions are actually employed by the writer (see below for an example in ET of the sort of thing I mean). Recently I enquired, off list to avoid possible embarrassment, of one contributor who seemed very firm in their convictions and asked precisely what fretting pattern they employed and later even sent an example (for ET) of the sort of simple numerical information I was asking about. Here it is (obviously, this theoretical example doesn't take into account the usual refinements necessary to adjust for take-off point at the bridge and the slight effect on pitch of displacement of a string when pressed down to the fingerboard): --- -- For example, in ET: fret distance to fret from bridge (to 4 significant figures) 0 (nut) 1. 1 0.9439 2 0.8909 3 0.8410 4 0.7938 5 0.7493 6 0.7072 7 0.6675 8 0.6301 9 0.5947 100.5614 etc.. --- It would surely be helpful in understanding an individual's preference for the particular temperament they advocate if the precise fretting positions were stated in any communication. Who knows, it might even lead to some sort of consensus MH On Tuesday, 23 July 2019, 00:15:45 BST, G. C. wrote: Dear Rainer, when listening to Tarletone, which came in 4 versions, I have to say, that to my ears, they all sounded virtually the same, at least the 3 MT versions. For some reason, my ears prefered the equal temperament one, although I can't exactly say why. It felt more "crisp" if that says anything. My + 60 year's hearing must probably be somewhat deteriorated, or heavily indoctrinated. Best wishes G. On Mon, Jul 22, 2019 at 11:49 AM Rainer <[1][1]rads.bera_g...@t-online.de> wrote: Go to [2][2]http://www.iupress.indiana.edu/product_info.php?products_id=80798 8 and press "Related Links". I think there are other pages with vocal music in different tunings, but I cannot remember. Rainer PS We had this discussion not very long ago and apparently nobody has changed his mind :( -- References 1. mailto:[3]rads.bera_g...@t-online.de 2. [4]http://www.iupress.indiana.edu/product_info.php?products_id=807988 To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:rads.bera_g...@t-online.de 2. http://www.iupress.indiana.edu/product_info.php?products_id=80798 3. mailto:rads.bera_g...@t-online.de 4. http://www.iupress.indiana.edu/product_info.php?products_id=807988 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Corigniani
It is an arrangement, and a pseudonym seems very probable if you attempt to track down this "Italian composer". I have a hunch... BTW, there once have been two duets by Corigniani kept by Breitkopf. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Alain Veylit Gesendet: Freitag, 21. Juni 2019 18:02 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Corigniani There is a very nice concerto for 2 Baroque lutes and basso at the Brussels Royal library by a mister (or mrs) Corigniani. Google turns up very little on that composer, except that it may be a pseudonym for a German composer. What is the rationale/research to doubt that Corigniani was Italian? Is there a notice for Corigniani in the latest Grove? Was that concerto recorded using the original instruments? Thanks for the tips, Alain To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Krebs Concerto in C
Both have been recorded (with lute) and edited twice, allas no critical tablature editions up to now which we will change soon. So we will have possibly more editions than players of the Krebs Concerti... Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Alain Veylit Gesendet: Dienstag, 28. Mai 2019 18:17 An: LuteNet list Betreff: [LUTE] Re: Krebs Concerto in C For those interested in ensemble music for Baroque lute, I posted a transcription of the German composer Johann Ludwig Krebs' Concerto in C for Baroque lute, 2 violins, viola and cello, from the manuscript kept at the Staatsbibliothek zu Berlin. It is hefty work in 3 parts: Allegro, Largo and Vivace. The lute parts alone take 18 pages A4, for a performance time of about 15 to 20 minutes. Krebs was a contemporary and friend and student of J.S. Bach, something you might not guess on the face of this concerto. The lute part is definitely the lead one with many solo happenings. I provide PDFs for stacked parts and for each instrument, as well as links to the digital facsimile of the manuscript. I also added a rough computer generated audio file for each movement - to my knowledge this concerto has not been previously transcribed or recorded. Krebs' other concerto, in F, was both transcribed and recorded for the modern guitar (transposed in G). Jean-Daniel Forget transcribed the lute part, and I am responsible for the rest and putting the parts together. See: http://fandango.musickshandmade.com/projects/preview/8 (You may need a free login to view all the documents) Alain To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Antonio Reggio (1725-1780)
When I looked into some scores edited by Anthony some years ago I had the impression that the music could very well be intended for a mandolin-type of lute. The music would not cross the bass and it seemed to fit a six-course Genoese mandolin tuned one octave above a (modern) guitar (or mandora in E). There is quite some music for mandolin in the very Santini-library in Munster (u-Umlaut), Germany, where Reggio's "lute"-music is located, but I don't know any details about it. You can find it under D-MÜs in RISM-online. I don't know whether Anthony could exclude this possibility in the mean time (I think I have written him about my impression). Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Anthony Hart Gesendet: Freitag, 24. Mai 2019 17:42 An: Lute List Betreff: [LUTE] Re: Antonio Reggio (1725-1780) Dear all, I have been lurking on the list for a couple of days to see any comments. To answer a couple of questions. The general concensus it that they were composed for calascione, which was a popular instrument used in churches in Italy at this time. I believe that these were 'fun' pieces composed for a friend with Reggio on cello.That is not to say that these were not quality pieces. Reggio was a very competent composer for keyboard instruments.His music reflects the transition from the baroque to classical periods. His keyboard sonatas are a significant contribution to this period. His works and life covers the gallant period almost exactly. Thanks everyone for their comments and interest in Reggio. I am in the process of writing the biography of Reggio and I wish to include some discussion of his works. If anyone is interested in sampling his music then contact me off line and I will let you have some of his works provided I get feed back of your thought. Best wishes to all Anthony Il giorno ven 24 mag 2019 alle ore 10:43 Martyn Hodgson <[1]hodgsonmar...@cs.dartmouth.edu> ha scritto: Dear Konstantin, Thanks for this. I agree that the works do not always seem to fit well on the G archlute and that an instrument in nominal A is often more comfortable for some of Reggio's works. Regarding the notation being either at pitch or an octave lower: look at the Dalla Casa MS (1759) for his ' Arcileuto Francese' - a roughly similar date to the Reggio compositions. [1][2]http://www.bibliotecamusica.it/cmbm/viewschedatwbca.asp?path=/ cmbm/i mages/ripro/gaspari/EE/EE155/ Since we even have a portrait of Dalla Casa (1737 -c1810) playing his instrument, we know for certain that this music, in staff notation, has to be played an octave lower than nominally written since the top string could not come up to the higher pitch on an instrument of this size. This is also confirmed by the 'Scale per L'Arcileuto Francese' notated on the penultimate folio of the MS. I suspect Reggio employed the same practice - it also avoids the excessive use of ledger lines etc. I'm not worried about the occasional note being below the notated bass. Dalla Casa's works sometimes show this too - for example in the Suonata per Arcileuto francese (del Sigr, N.N.). The sustained bass part overcomes the transient nature of the lute part Interestingly, note Dalla Casa's right hand playing technique: very much a thumb out and even with what seems a long nail on his thumb! MH PS In my view the organ is the better choice for BC to accompany the archlute - the harpsichord is too incisive and its strong upper harmonic partials obscure the lute. On Thursday, 23 May 2019, 20:19:24 BST, Konstantin Shchenikov <[3]konstantin.n...@gmail.com> wrote: I had experience with that music. I've recorded 1st and 2nd with organ, played it in concerts with harpsichord and another archlute. I also did some guitar solo and guitar duo arrangements of several sonatas for Anthony Hart and played some of them on XIX c. guitar. I read through more or less all 24 lute sonatas. Some of them are very interesting. In the average the music is of interesting transitional style and good quality. There are some signs of old style, like 2-part form close to Scarlatti Sonatas or Bach-Sons pieces. The manner of working with material is mostly old-fashioned for 70s' when Haydn and Mozart were flourished, but the musical material itself sounds more close to those vienna classics with some interesting haromies of very 'fresh'
[LUTE] Re: "Spanish" tablature
On a second thought, it must have been a French tab reader who transcribed Italian Tab upside down. Sorry, time and a heavy flew have darkened my memory... So it would have been used as a variant of French tab there. Stephan -Ursprüngliche Nachricht- Von: Stephan Olbertz [mailto:stephan.olbe...@web.de] Gesendet: Samstag, 12. Januar 2019 21:36 An: 'Stephan Olbertz' Betreff: AW: [LUTE] Re: "Spanish" tablature ..and please pardon the odd "in" in the V.-word, I guess some German sneeked in there... Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stephan Olbertz Gesendet: Samstag, 12. Januar 2019 21:14 An: 'Lute net' Betreff: [LUTE] Re: "Spanish" tablature Dear Rainer, I'm not sure that Spanish/Valencinian/Milan tablature is to be seen as a variant of Neapolitan tab only. The Munich Denss source suggests that the writer transformed French to S/V/M tablature, judging by the mistakes and corrections he made. For what it's worth, here is what I wrote about the London source in my edition of the ms sources for vihuela de/viola da mano (where the Denss additions are not included for the above reason). <><><> London, British Library, C.48.h.1 Manuscript fragment in: Lucius Marineus Siculus, Epistolarum familiarum (Valladolid 1514), on the flyleaf This sketchy fragment was bound as an already unused piece of paper with the book as a flyleaf, or has been carelessly entered at a later point in time. It is basically written in what is usually called “Spanish” or “Valencian” tablature, (*) which could also be seen as a bottom-up variant of the Italian system, or, perhaps more fittingly, a Neapolitan tablature including the zero. The manuscript uses an unusual rhythmic notation that has led to the belief that the writer was an amateur barely capable of understanding tablature, or that it might show a kind of proto Milan-style tablature.(**) However, its division into groups of four strokes with the ciphers assigned to each stroke via a vertical line clearly hints at an intabulation technique that was used to add up music from different parts or part books together in a single tablature stave.(***) This would also explain corrections where two successively copied notes fall onto the same course. Judged by the structure of the piece it is clearly an unfinished polyphonic composition in three parts. It may be an arranged composition for voices or instruments, or an original composition for vihuela that started life staff-notated. For a workable reconstruction of the fragment, material from the surviving music has been taken to create the missing parts of the superius and the middle voice. (*) According to Antonio Corona-Alcalde, "The earliest vihuela tablature: a recent discovery," in: Early Music 1992, p. 594–600, this source may be connected to Valencia, as well as Luis Milan’s print Libro de musica de vihuela de mano. Intitulado El maestro (Valencia, 1536). Hiroyuki Minamino made a case for calling the system Valencinian tablature (“Valencinian tablature”, in: Lute Society of America Quarterly 33, no.3 (1998), p. 4–6). However, three further sources of this tablature type stem from Germany, another one from Italy. (**) See Corona-Alcalde, "The earliest vihuela tablature,” op. cit. and Minamino, “Valencinian tablature”, op. cit.. (***) For a similar technique see Emanuel Adriaensen, NOVVM PRATVM MVSICVM (Antwerp, 1592), introduction. <><><> Best wishes Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von adS Gesendet: Samstag, 12. Januar 2019 19:08 An: Lute net Betreff: [LUTE] "Spanish" tablature Dear lute netters, I seem to remember that recently somebody posted a list of sources with Spanish/Milan tablature including Neapolitan tablature. In an article by Michael Fink (LSAQ XLIV, No.4, 2009, pp. 29-32) there is a list of such sources: Pesaro, Biblioteca Oliveriana, MS 1144 (c. 1490-95), pp. 101-103 London: British Library, C.48.h.l, See Antonio Corona-Alcalde, “The Earliest Vihuela Tablature: A Recent Discovery,” Early Music 20/4 (Nov. 1992): 594-600. Milan'S Maestro 1536 The Sulzbach books 1536 Barberiis 1549, a few pieces for guitar (the lute music is in Italian tablature) To these I have to add: Manual additions to the copy of Denss' Florilegium (1594) kept in Munich Any other sources? Rainer PS The Neapolitan tablature looks very strange to modern readers since it does not use the "0" for open strings. The reason might be that the zero was not generally accepted as a number in those days. Note: Using the digit "0" does NOT mean that you use the number zero! A clear concept/construction of real numbers was not achievd before the second half of the
[LUTE] Re: "Spanish" tablature
Dear Rainer, I'm not sure that Spanish/Valencinian/Milan tablature is to be seen as a variant of Neapolitan tab only. The Munich Denss source suggests that the writer transformed French to S/V/M tablature, judging by the mistakes and corrections he made. For what it's worth, here is what I wrote about the London source in my edition of the ms sources for vihuela de/viola da mano (where the Denss additions are not included for the above reason). <><><> London, British Library, C.48.h.1 Manuscript fragment in: Lucius Marineus Siculus, Epistolarum familiarum (Valladolid 1514), on the flyleaf This sketchy fragment was bound as an already unused piece of paper with the book as a flyleaf, or has been carelessly entered at a later point in time. It is basically written in what is usually called “Spanish” or “Valencian” tablature, (*) which could also be seen as a bottom-up variant of the Italian system, or, perhaps more fittingly, a Neapolitan tablature including the zero. The manuscript uses an unusual rhythmic notation that has led to the belief that the writer was an amateur barely capable of understanding tablature, or that it might show a kind of proto Milan-style tablature.(**) However, its division into groups of four strokes with the ciphers assigned to each stroke via a vertical line clearly hints at an intabulation technique that was used to add up music from different parts or part books together in a single tablature stave.(***) This would also explain corrections where two successively copied notes fall onto the same course. Judged by the structure of the piece it is clearly an unfinished polyphonic composition in three parts. It may be an arranged composition for voices or instruments, or an original composition for vihuela that started life staff-notated. For a workable reconstruction of the fragment, material from the surviving music has been taken to create the missing parts of the superius and the middle voice. (*) According to Antonio Corona-Alcalde, "The earliest vihuela tablature: a recent discovery," in: Early Music 1992, p. 594–600, this source may be connected to Valencia, as well as Luis Milan’s print Libro de musica de vihuela de mano. Intitulado El maestro (Valencia, 1536). Hiroyuki Minamino made a case for calling the system Valencinian tablature (“Valencinian tablature”, in: Lute Society of America Quarterly 33, no.3 (1998), p. 4–6). However, three further sources of this tablature type stem from Germany, another one from Italy. (**) See Corona-Alcalde, "The earliest vihuela tablature,” op. cit. and Minamino, “Valencinian tablature”, op. cit.. (***) For a similar technique see Emanuel Adriaensen, NOVVM PRATVM MVSICVM (Antwerp, 1592), introduction. <><><> Best wishes Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von adS Gesendet: Samstag, 12. Januar 2019 19:08 An: Lute net Betreff: [LUTE] "Spanish" tablature Dear lute netters, I seem to remember that recently somebody posted a list of sources with Spanish/Milan tablature including Neapolitan tablature. In an article by Michael Fink (LSAQ XLIV, No.4, 2009, pp. 29-32) there is a list of such sources: Pesaro, Biblioteca Oliveriana, MS 1144 (c. 1490-95), pp. 101-103 London: British Library, C.48.h.l, See Antonio Corona-Alcalde, “The Earliest Vihuela Tablature: A Recent Discovery,” Early Music 20/4 (Nov. 1992): 594-600. Milan'S Maestro 1536 The Sulzbach books 1536 Barberiis 1549, a few pieces for guitar (the lute music is in Italian tablature) To these I have to add: Manual additions to the copy of Denss' Florilegium (1594) kept in Munich Any other sources? Rainer PS The Neapolitan tablature looks very strange to modern readers since it does not use the "0" for open strings. The reason might be that the zero was not generally accepted as a number in those days. Note: Using the digit "0" does NOT mean that you use the number zero! A clear concept/construction of real numbers was not achievd before the second half of the 19th century. Even in Gerolamo Cardano's (in)famous book "Ars Magna" (1545) with the solution of cubic equations - which he had stolen from Tartaglia and del Ferro - the zero is not used. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Builder of Hard Cases
Umlaut-trouble again...
https://www.migma-eg.de/etuibau/
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von stephan.olbertz
Gesendet: Freitag, 7. September 2018 08:08
An: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Builder of Hard Cases
I would always adcocate wooden cases for storage of expensive
instruments. They have that inbuilt moisture control
I don't know if Holger Götz still takes customers, he makes really
great cases.
Regards
Stephan
Von meinem Samsung Galaxy Smartphone gesendet.
Ursprüngliche Nachricht
Von: man...@manololaguillo.com
Datum: 06.09.18 10:21 (GMT+01:00)
An: Sebastian Minkhart , lute@cs.dartmouth.edu
Betreff: [LUTE] Re: Builder of Hard Cases
Hi, Pierre Rousseau is in France, but his alu cases are famous (strong,
light and not that expensive...). I have one for my viola da gamba.
http://pierre.fab.free.fr/luth.html
Grüsse aus Barcelona!
El 06-09-2018 07:04, Sebastian Minkhart escribió:
> Hello!
>
> I am looking for a good builder of hardcases for Lutes and Theorbes,
> preferably in western Germany, Netherlands Belgium. Probably with
> quite short delivery times, certainly not years.
>
> Best Regards from the Eifel
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Georg Gebel
Dear Monica, Gzregorz, and all,
here is what I wrote about Gebel in JSLA 2012 ("An Unknown Lute Piece in a
Keyboard Manuscript with Works by Wilhelm Friedemann Bach"). Biography and
style point strongly towards Gebel the younger. There is also a lute obbligato
in his St. John passion "Hier hängt die Unschuld nackt und bloss"), presumably
for d-minor theorbo without high f (see
https://www.amazon.de/Gebel-II-Johannes-Jan-Kobow/dp/B002WVRBOI/ref=sr_1_1?ie=UTF8&qid=1528363610&sr=8-1&keywords=gebel+johannes+passion
).
"As a matter of fact, Kropfgans could have taken part in producing such a
cooperative work with a different nonlutenist composer, a long Tombeau for solo
lute written in 1738 by his friend and colleague Georg Gebel the younger
(1709–1753).[36] Both from Breslau, they entered the service of Count von Brühl
together in 1735.[37] Gebel is indeed reported to have composed for the lute
while still in Breslau, which would make him the only known nonlute-playing
composer besides J. S. Bach who wrote solo music for the instrument.[38] The
Tombeau seems to be cleverly written for the lute, already empfindsam in style
and form. However, since Gebel learned to play Pantaleon Hebenstreit’s large
dulcimer pantalon and is reported to have composed for it in Dresden, the often
thin-voiced Tombeau with three slow movements and frequently indicated dynamic
changes from pianissimo to forte could also be a transcription of an original
work written for this forerunner, both in technique an!
d dynamic possibilities, of the fortepiano.[39]"
Footnotes:
36 München, Bayerische Staatsbibliothek, Mus. Ms. 5362, f. 51vff. Thanks to Tim
Crawford for bringing my attention to Gebel. [Should have mentioned the Paris
concordance in LAV Gottsched's hand!]
37 In 1746 Gebel changed to the court of Schwarzburg-Rudolstadt, while
Kropfgans and three other Breslau musicians stayed for nearly thirty years in
von Brühl’s service until the latter’s death in 1763; cf. Kollmar, Gottlob
Harrer, 61ff. and 73. On Gebel‘s life see Friedrich Wilhelm Marpurg,
Historisch-kritische Beyträge zur Aufnahme der Musik, vol. 1. (Berlin, 1754),
250–66; also Manfred Fechner, “Ein weißer Fleck: Georg Gebel d. J. (1709–1753)
als Kirchenkomponist. Vom Breslauer Wunderkind zum Rudolstädter
Hofkapellmeister,” in Probleme der Migration von Musik und Musikern in Europa
im Zeitalter des Barock, Arolser Beiträge zur Musikforschung, vol. 9, ed.
Friedhelm Brusniak and Klaus-Peter Koch (Sinzig, 2002), 57–75.
38 Cf. Marpurg, Historisch-kritische Beyträge, 258, though Marpurg’s informant
wasn’t too sure about Gebel’s lute compositions, which like much of Gebel’s
instrumental music have not survived. Concerning the evaluation of the lute
solo repertory, see Konrad Junghänel, “Lautenkompositionen,” in Johann
Sebastian Bach, Spätwerk und Umfeld (Duisburg, 1986), 157–68, especially 159.
Junghänel apparently wasn’t aware of Gebel, though.
39 See Wolfgang Ruf, s.v. “Hebenstreit, Pantaleon,” in Die Musik in Geschichte
und Gegenwart, 2nd ed; on Gebel’s pantalon playing see Marpurg,
Historisch-kritische Beyträge, 262ff. Incidentally, Gebel’s smaller version of
the instrument had only one register strung with gut strings, as opposed to
Hebenstreit’s two registers with a low gut- and high metal-strung register, so
his playing would have actually sounded quite lute-like. Cf. Heinrich Christoph
Koch, Musikalisches Lexikon (Frankfurt/main, 1802), 1134ff.,
http://archive.org/details/MusikalischesLexikon1802.
Regrads
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Grzegorz Joachimiak
Gesendet: Donnerstag, 7. Juni 2018 10:22
An: mjlh...@tiscali.co.uk
Cc: lute List
Betreff: [LUTE] Re: Georg Gebel
Dear Monica,
here you will find some answers for yor
questions: [1]https://www.academia.edu/5072002/Tombeau_and_Lamento_in_t
he_Lute_Music_in_Silesia_of_17th_and_18th_centuries_Tombeau_i_lamento_w
_muzyce_lutniowej_na_%C5%9Al%C4%85sku_XVII_i_XVIII_wieku
Sorry for my absence before in this subject. This is my Polish article
from 2012 and it was a short version of my larger text about tombeaux.
I hope so that it will be helpfull even in Polish.
Best wishes
Grzegorz
Dnia Czwartek, 7 Czerwca 2018 10:00 mjlh...@cs.dartmouth.edu
napisa³(a)
> Another query about tombeaux.
>
> Do we know which Georg Gebel wrote the Tombeau de Madame J? There
seem
> to be two, father and son. Both alive an adults in 1738.
>
> Cheers
> Monica
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
References
1.
https://www.academia.edu/5072002/Tombeau_and_Lamento_in_the_Lute_Music_in_Silesia_of_17th_and_18th_centuries_Tombeau_i_lamento_w_muzyce_lutniowej_na_ÅšlÄ…sku_XVII_i_XVIII_wieku
[LUTE] Re: Johann Kropfgans
Dear Arthur and all, BTW, I have found evidence that Carl Ferdinand Becker must have aquired the Bach tablatures (995, 997, 1000) before the 1836 Breitkopf auction where he served as advisor, 1832/33 at latest. His fellow Bach collector Franz Hauser knew about it. So the entry "Praeludien etc" "3 Bog.[en]" in the auction catalogue refers to the score of 995 (to Fetis) only, the plural seems to be a mistake. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Arthur Ness Gesendet: Dienstag, 15. Mai 2018 23:44 An: stephan.olbe...@web.de; lute@cs.dartmouth.edu; arthurjn...@verizon.net; rha...@legalaidbuffalo.org Betreff: [LUTE] Re: Johann Kropfgans Hi Stephen, You got it ! ! ! 12 Trios lute, violin âcello in B-Br Ms II 4088. Also the Pichler piece in Ms II 4087 (viii) according to Tim Crawford. Meyer, Christian. "Les Manuscrits De Luth Du Fonds Fétis (Bruxelles, Bibliothèque Royale Albert Ier, Mss II 4086-4089)." Revue Belge De Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, vol. 50, 1996, pp. 197â216. JSTOR, JSTOR, [1]www.jstor.org/stable/3687046. Also listed with complete titles in Boetticher's RISM VII inventory, pp. 62-4. These were from the Fétis collection and may have been acquired from the Breitkopf auction of 1832 (can't find my notes). The catalogue is extremely rare, but is about 1 ½ inches thick.*** Breitkopf decided to empty their warehouse of outmoded music. What a treasure!! Unique copies of some of the Bach lute pieces were among the offering. Stephan Olbertz, "An Unknown Lute Piece in a Keyboard Manuscript with Works by Wilhelm Friedemann Bach," JLSA 44 (2012): 1-22. ***Copy in the University Library, Amsterdam (NO Longer in the Amsterdam public library). Enjoy, Roland! Arthur Ness arthurjn...@verizon.net -Original Message- From: Stephan Olbertz To: 'Lute Net' Sent: Tue, May 15, 2018 4:24 pm Subject: [LUTE] Re: Johann Kropfgans Think of the galant lute trio like a piano trio... You get the idea ;-) Best Stephan -Ursprüngliche Nachricht- Von: lute-[2]a...@cs.dartmouth.edu [[3]mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stewart McCoy Gesendet: Dienstag, 15. Mai 2018 21:05 An: Lute Net Betreff: [LUTE] Johann Kropfgans Dear Roland, Iââ¬â¢m afraid I donââ¬â¢t know about these trios by Johann Kropfgans, but I would very much like to know more about them. I see from a quick search on the internet that Kropfgans wrote chamber music for the lute, violin and cello, including one in C minor, but I see no evidence of lute trios. It is possible that Lutz Kirchhof made his own lute trio arrangements from those chamber music pieces, but Iââ¬â¢m only guessing. Hopefully youââ¬â¢ll be able to find out more. Best wishes, Stewart. From: [1]Roland Hayes Sent: Tuesday, May 15, 2018 7:10 PM To: [2]Wayne ; [3]Stewart McCoy Cc: [4]lute net Subject: Johann Kropfgans He wrote 32 lute trios? What are the sources? I just heard one in c minor w/ Lutz Kerchoff. Outstanding!! r -- References 1. [4]mailto:rha...@legalaidbuffalo.org 2. [5]mailto:wst...@cs.dartmouth.edu 3. [6]mailto:lu...@tiscali.co.uk 4. [7]mailto:lute@cs.dartmouth.edu To get on or off this list see list information at [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.jstor.org/stable/3687046 2. mailto:a...@cs.dartmouth.edu 3. mailto:lute-...@cs.dartmouth.edu? 4. mailto:rha...@legalaidbuffalo.org? 5. mailto:wst...@cs.dartmouth.edu? 6. mailto:lu...@tiscali.co.uk? 7. mailto:lute@cs.dartmouth.edu? 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Johann Kropfgans
Think of the galant lute trio like a piano trio... You get the idea ;-) Best Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stewart McCoy Gesendet: Dienstag, 15. Mai 2018 21:05 An: Lute Net Betreff: [LUTE] Johann Kropfgans Dear Roland, I’m afraid I don’t know about these trios by Johann Kropfgans, but I would very much like to know more about them. I see from a quick search on the internet that Kropfgans wrote chamber music for the lute, violin and cello, including one in C minor, but I see no evidence of lute trios. It is possible that Lutz Kirchhof made his own lute trio arrangements from those chamber music pieces, but I’m only guessing. Hopefully you’ll be able to find out more. Best wishes, Stewart. From: [1]Roland Hayes Sent: Tuesday, May 15, 2018 7:10 PM To: [2]Wayne ; [3]Stewart McCoy Cc: [4]lute net Subject: Johann Kropfgans He wrote 32 lute trios? What are the sources? I just heard one in c minor w/ Lutz Kerchoff. Outstanding!! r -- References 1. mailto:rha...@legalaidbuffalo.org 2. mailto:wst...@cs.dartmouth.edu 3. mailto:lu...@tiscali.co.uk 4. mailto:lute@cs.dartmouth.edu To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thesis about Lauten Konzerte
Dear Anna Wiktoria, for a start: the composer Saint-Luc has recently been identified by Manuel Couvreur to be Laurent, not Jacques or Jacques-Alexandre. (I have been unable to find an article and only know his booklet text to E. Mascardi's recent CD.) I must confess, I'm a bit old fashioned and think that a PhD should be research-based rather than artistic, but times are changing. So good luck! Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Anna Wiktoria Swoboda Gesendet: Mittwoch, 28. März 2018 13:49 An: Lutelist Net Betreff: [LUTE] Thesis about Lauten Konzerte Dear invaluable Collective Lute-Wisdom! I'm preparing a PhD thesis (which at the Music Academy consists of the thesis itself and a representative CD recording) about "17th and 18th century chamber music with lute obligato: concerts, trios and arias by Jacob Kremberg, Jacques de Saint-Luc, F.I. Hinterleithner and J.G. Weichenberger. The role of lute instruments and the performance practice in ensemble works." The pieces I'm going to work on are: - Saint Luc's Trios (thanks to Martin Hodgson, Edward Martin and others for a very informative discussion about this composer) - Kremberg's Musicalische Gemüths-Ergötzung, oder Arien (1689) - Hinterleithner's Lauthenkonzerte - Weichenberger's Lautenkonzerte aus Harrach Ms., maybe also from Grussau Ms. I'm going to open the topic with the case of P.P. Melli "Suite for 9 instruments" from Intavolatura di liuto attiorbato (1616) - thanks to Alain Veylit (and others) for his work and comments. W.L. von Radolt's Die aller treueste Freindin is already done by Ars Antiqua Austria and edited by TREE Edition. A great help provided already Tim Crawford, Jerzy Å»ak and Michael Talbot. If somone of you have any advice, also for bibliography or a person who work/-ed on that subject, I wold be very grateful to get to know that. -- Anna Wiktoria Swoboda, theorbo, baroque guitar baroque & renaissance lute +48 607 666 627 [1]wiktoriaswoboda.jimdo.com -- References Visible links 1. http://wiktoriaswoboda.jimdo.com/ Hidden links: 3. http://imslp.org/wiki/Musicalische_Gem%C3%BCths-Erg%C3%B6tzung_(Kremberg%2C_Jakob) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Naming of things was Re: Betrachte meine Seel
relle > The second ones are even deeper tuned and only used for bass continuo, > especially single lines but sometimes also chords ... (also > double-choirs) > The first group, we seem to concur. > And yes, Martyn, the historical names are really confusing! > Best regards > Markus > Am 21.03.2018 um 10:16 schrieb Stephan Olbertz: > > I think that was also Pietro Prosser's objection on the Eichstädt > symposium. But do we really have to call instruments by all names it > ever had? I can fully understand the attempt to "bring it into line", > as Andi Schlegel had put it. > > Stephan > > > > -Ursprüngliche Nachricht- > > Von: [[4]1]lute-...@cs.dartmouth.edu > [mailto:[[5]2]lute-...@cs.dartmouth.edu] Im Auftrag von Martyn Hodgson > > Gesendet: Mittwoch, 21. März 2018 09:48 > > An: [[6]3]mar...@gmlutz.de; '[[7]4]lute@cs.dartmouth.edu' > > Betreff: [LUTE] Re: Betrachte meine Seel > > > >We need to very careful of making a false, if tempting, > differentiation > >between the callichon/gallichon (and numerous cognates) and the > >mandora: these generally seem to be one and the same instrument > (some > >sources clearly say so). Neither can we unequivocally state that > the > >later eighteenth century nominal E tuning for the first course > (rather > >than the earlier D) of the c/m is linked to a specific name such > as > >mandora. > >What can be said is that the large, often single stringed, > continuo > >instrument tuned in nominal A (or rarer B) with a string length in > the > >high 90 cm was generally referred to as callichon (calchedon, > galizona, > >etc) and not mandora. > >MH > > > __ > > > >From: Markus Lutz [8]<[5]mar...@gmlutz.de> > >To: [9]"'[6]lute@cs.dartmouth.edu'" [10]<[7]Lute@cs.dartmouth.edu> > >Sent: Monday, 19 March 2018, 21:11 > >Subject: [LUTE] Re: Betrachte meine Seel > >It is very important to tell between the different instruments. > >There are 3 to differ: > >1. The colascione, which are long necked instruments with 3 often > >single > >strings, only used for bass > >2. The galizona (gallichon), that was used as bass instrument > >especially > >by Telemann and played especially the bass lines, but only few > chords > >(also called theorbo in some sources) > >3. The mandora, which was used especially in South of Germany and > >Austria for solo and ensemble music, from 1720 on > >I'm sure Andreas Schlegel can explain everything in detail. > >The terminology is quite confusing, as the terms have been used > >differently in different parts of Europe. > >The mandore (3.) probably wasn't used as continuo instrument. > >Best regards > >Markus > > -- > > References > > 1. mailto:mar...@gmlutz.de > 2. mailto:'lute@cs.dartmouth.edu' > 3. mailto:Lute@cs.dartmouth.edu > 4. mailto:1]lute-...@cs.dartmouth.edu > 5. mailto:2]lute-...@cs.dartmouth.edu > 6. mailto:3]mar...@gmlutz.de > 7. mailto:4]lute@cs.dartmouth.edu > 8. mailto:[5]mar...@gmlutz.de > 9. mailto:'[6]lute@cs.dartmouth.edu' >10. mailto:[7]Lute@cs.dartmouth.edu > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de
[LUTE] Re: Betrachte meine Seel
I think that was also Pietro Prosser's objection on the Eichstädt symposium. But do we really have to call instruments by all names it ever had? I can fully understand the attempt to "bring it into line", as Andi Schlegel had put it. Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Martyn Hodgson Gesendet: Mittwoch, 21. März 2018 09:48 An: mar...@gmlutz.de; 'lute@cs.dartmouth.edu' Betreff: [LUTE] Re: Betrachte meine Seel We need to very careful of making a false, if tempting, differentiation between the callichon/gallichon (and numerous cognates) and the mandora: these generally seem to be one and the same instrument (some sources clearly say so). Neither can we unequivocally state that the later eighteenth century nominal E tuning for the first course (rather than the earlier D) of the c/m is linked to a specific name such as mandora. What can be said is that the large, often single stringed, continuo instrument tuned in nominal A (or rarer B) with a string length in the high 90 cm was generally referred to as callichon (calchedon, galizona, etc) and not mandora. MH __ From: Markus Lutz To: "'lute@cs.dartmouth.edu'" Sent: Monday, 19 March 2018, 21:11 Subject: [LUTE] Re: Betrachte meine Seel It is very important to tell between the different instruments. There are 3 to differ: 1. The colascione, which are long necked instruments with 3 often single strings, only used for bass 2. The galizona (gallichon), that was used as bass instrument especially by Telemann and played especially the bass lines, but only few chords (also called theorbo in some sources) 3. The mandora, which was used especially in South of Germany and Austria for solo and ensemble music, from 1720 on I'm sure Andreas Schlegel can explain everything in detail. The terminology is quite confusing, as the terms have been used differently in different parts of Europe. The mandore (3.) probably wasn't used as continuo instrument. Best regards Markus Am 19.03.2018 um 21:52 schrieb Ron Andrico: >Umm, I would rather not have my words rearranged. I meant what I wrote >previously. > >A quick look at the articles on archlute and on continuo in the Grove >online reinforce the accepted premise that the archlute was not known >to be present or used for continuo playing in the German states in the >18th century. > >In the Grove music online article on Continuo by Peter Williams and >David Ledbetter: >"In the Dresden of Heinichen and Zelenka (c1710â30) the (Catholic) >court chapel employed a continuo group of two or more cellos, bassoons, >violoni and theorbos, though the theorbos fell out of use in the 1730s >after the arrival of Hasse." >In the Grove music online article on Mandora by James Tyler: >"A type of bass lute of the 18th century used for continuo >accompaniment and solos, particularly in Germanic regions." >... >"Contemporary references to the mandora clearly indicate that it was >commonly used for continuo, which makes a great deal of sense >considering that its pitch and the flexibility afforded by its tuning >made it ideal for playing the bass lines of the new musical styles of >the late Baroque and early Classical periods. As well as chordal >continuo accompaniments, it was also used to play single-line melodic >basses, as a bassoon or cello would." >... >"In 1709 Johann Kuhnau requested the purchase of a âColocion' for the >Thomasschule in Leipzig in order to have more effective bass support >for the singers (ibid., 73). Mattheson (op.cit., 277) highly recommends >the âcalichon' over the normal lute for continuo support in chamber >music, and Telemann wrote two concertos for two flutes and strings, for >which the bass lines are marked for âCalchedon' or bassoon." >RA > __ > >From: [1]lute-...@cs.dartmouth.edu <[2]lute-...@cs.dartmouth.edu> on behalf >of Stephan Olbertz <[3]stephan.olbe...@web.de> >Sent: Monday, March 19, 2018 8:20 PM >To: '[4]lute@cs.dartmouth.edu' >Cc: '[5]lute@cs.dartmouth.edu' >Subject: [LUTE] Re: Betrachte meine Seel > >Yes, so it should read >"the part was [very probable] not c
[LUTE] Re: Betrachte meine Seel
So we can conclude that the mandora (Schlegel's type 3) was in all probability neither the intended instrument in Betrachte, nor a continuo instrument in Saxony. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Markus Lutz Gesendet: Montag, 19. März 2018 22:08 An: 'lute@cs.dartmouth.edu' Betreff: [LUTE] Re: Betrachte meine Seel It is very important to tell between the different instruments. There are 3 to differ: 1. The colascione, which are long necked instruments with 3 often single strings, only used for bass 2. The galizona (gallichon), that was used as bass instrument especially by Telemann and played especially the bass lines, but only few chords (also called theorbo in some sources) 3. The mandora, which was used especially in South of Germany and Austria for solo and ensemble music, from 1720 on I'm sure Andreas Schlegel can explain everything in detail. The terminology is quite confusing, as the terms have been used differently in different parts of Europe. The mandore (3.) probably wasn't used as continuo instrument. Best regards Markus Am 19.03.2018 um 21:52 schrieb Ron Andrico: > Umm, I would rather not have my words rearranged. I meant what I wrote > previously. > > A quick look at the articles on archlute and on continuo in the Grove > online reinforce the accepted premise that the archlute was not known > to be present or used for continuo playing in the German states in the > 18th century. > > In the Grove music online article on Continuo by Peter Williams and > David Ledbetter: > "In the Dresden of Heinichen and Zelenka (c171030) the (Catholic) > court chapel employed a continuo group of two or more cellos, bassoons, > violoni and theorbos, though the theorbos fell out of use in the 1730s > after the arrival of Hasse." > In the Grove music online article on Mandora by James Tyler: > "A type of bass lute of the 18th century used for continuo > accompaniment and solos, particularly in Germanic regions." > ... > "Contemporary references to the mandora clearly indicate that it was > commonly used for continuo, which makes a great deal of sense > considering that its pitch and the flexibility afforded by its tuning > made it ideal for playing the bass lines of the new musical styles of > the late Baroque and early Classical periods. As well as chordal > continuo accompaniments, it was also used to play single-line melodic > basses, as a bassoon or cello would." > ... > "In 1709 Johann Kuhnau requested the purchase of a Colocion for the > Thomasschule in Leipzig in order to have more effective bass support > for the singers (ibid., 73). Mattheson (op.cit., 277) highly recommends > the calichon over the normal lute for continuo support in chamber > music, and Telemann wrote two concertos for two flutes and strings, for > which the bass lines are marked for Calchedon or bassoon." > RA > > __ > > From: lute-...@cs.dartmouth.edu on behalf > of Stephan Olbertz > Sent: Monday, March 19, 2018 8:20 PM > To: 'lute@cs.dartmouth.edu' > Cc: 'lute@cs.dartmouth.edu' > Subject: [LUTE] Re: Betrachte meine Seel > > Yes, so it should read > "the part was [very probable] not conceived for archlute but rather > [the baroque lute, or possibly even] the mandora [although we have no > evidence for the mandora to be used as an obbligato instrument in > Saxony]" > Regards > Stephan > -Ursprüngliche Nachricht- > Von: lute-...@cs.dartmouth.edu [[1]mailto:lute-...@cs.dartmouth.edu] Im > Auftrag von Howard Posner > Gesendet: Montag, 19. März 2018 20:39 > Cc: lute@cs.dartmouth.edu > Betreff: [LUTE] Re: Betrachte meine Seel > The only evidence available about Leipzig in the early 1700s is that > the mandora/gallichon was the commonly used lute continuo instrument. > Bachs predecessor as thomaschule cantor, johann kuhnau, asked the town > council for money to buy a couple of them so he wouldnt have to keep > borrowing them. Somebody, probably mr. Hodgson, has pointed out > secondary sources that say the request was granted, though the sources > on which they rely arent clear on the point. > Is anyone aware of evidence for archlutes in 18th-century Saxony? > Sent from my iPhone > > On Mar 19, 2018, at 12:07, Stephan Olbertz > wrote: > > > > Ron, > > > > " the par
[LUTE] Re: Betrachte meine Seel
An 11-course, you meant... Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von John Lenti Gesendet: Dienstag, 20. März 2018 04:41 An: howard posner; lute@cs.dartmouth.edu Betreff: [LUTE] Re: Betrachte meine Seel Betrachte is a problematic number. It can’t be played without alteration on gallichon or archlute or swan-neck or theorbo or German theorbo or teorbe de piece or guitar or banjo or mandora or bandora or mandrill or budgerigar. A 13-course bass rider lute is the only thing I know of that can play the whole shebang without octave displacement of a couple of bass notes. That may be significant. Sent from [1]Mail for Windows 10 __ From: lute-...@cs.dartmouth.edu on behalf of howard posner Sent: Monday, March 19, 2018 7:01:02 PM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: Betrachte meine Seel I’m back at home, looking at "Bach’s Continuo Group†by Laurence Dreyfus. Kuhnau’s 1704 memorandum to the mayor of Leipzig asked for money to buy “colochonen,†Kuhnau didn’t give a number, but “colochonen†is plural. Kuhnau explained that the colochon was a lute, but had a penetrating sound. Perhaps the explanation was necessary because the mayor was not musically knowledgeable, or Kuhnau knew better than to underestimate a bureaucrat’s ignorance. Martyn Hodgson directed the list in 2013 to an article that said the town council turned down the request; i.e., my earlier post was incorrect about Martyn. Apologies. I was unable to confirm whether any colochonen were purchased. In Das neu-eroffnetes Orchestre, Mattheson wrote that in churches and operas the sound of the lute was too small “and serves more to put on airs than to help the singer,†and the colochon was better suited to the task. It seems unlikely to me that the Leipzig lutenist (Hoffman? Weyrauch?) played continuo on a gallichon, then picked up another, weaker-toned instrument to play what is essentially an arpeggiated continuo part with a bass singer and two violins. But who knows? And of course, Bach replaced the lute obbligato in the St. John Passion with organ, and replaced the lute obbligato in the St. Matthew Passion with viola da gamba; it’s possible he decided that an obbligato on a lute of any sort was out of place in St. Thomas, which is a big place. > On Mar 19, 2018, at 12:38 PM, Howard Posner wrote: > > The only evidence available about Leipzig in the early 1700s is that the mandora/gallichon was the commonly used lute continuo instrument. Bach’s predecessor as thomaschule cantor, johann kuhnau, asked the town council for money to buy a couple of them so he wouldn’t have to keep borrowing them. Somebody, probably mr. Hodgson, has pointed out secondary sources that say the request was granted, though the sources on which they rely aren’t clear on the point. > > Is anyone aware of evidence for archlutes in 18th-century Saxony? To get on or off this list see list information at [2]https://nam03.safelinks.protection.outlook.com/?url=http:%2F%2Fwww.c s.dartmouth.edu%2F~wbc%2Flute-admin%2Findex.html&data=02%7C01%7C%7C367c bb4e3389491d9a6b08d58e0628f8%7C84df9e7fe9f640afb435%7C1%7C0 %7C636571079458149169&sdata=Cfp29hWztGovQwWxIapGY7ulZ3WrYNbeK5VgFeahvRo %3D&reserved=0 -- References 1. https://go.microsoft.com/fwlink/?LinkId=550986 2. https://nam03.safelinks.protection.outlook.com/?url=http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html&data=02|01||367cbb4e3389491d9a6b08d58e0628f8|84df9e7fe9f640afb435|1|0|636571079458149169&sdata=Cfp29hWztGovQwWxIapGY7ulZ3WrYNbeK5VgFeahvRo=&reserved=0
[LUTE] Re: Betrachte meine Seel
Yes, so it should read "the part was [very probable] not conceived for archlute but rather [the baroque lute, or possibly even] the mandora [although we have no evidence for the mandora to be used as an obbligato instrument in Saxony]" Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Howard Posner Gesendet: Montag, 19. März 2018 20:39 Cc: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Betrachte meine Seel The only evidence available about Leipzig in the early 1700s is that the mandora/gallichon was the commonly used lute continuo instrument. Bach’s predecessor as thomaschule cantor, johann kuhnau, asked the town council for money to buy a couple of them so he wouldn’t have to keep borrowing them. Somebody, probably mr. Hodgson, has pointed out secondary sources that say the request was granted, though the sources on which they rely aren’t clear on the point. Is anyone aware of evidence for archlutes in 18th-century Saxony? Sent from my iPhone > On Mar 19, 2018, at 12:07, Stephan Olbertz wrote: > > Ron, > > " the part was not conceived for > archlute but rather the mandora or one of its namesakes" > > Do you have any evidence for this? (As I am sure Martyn would ask...) > > Regards > Stephan > > > > -Ursprüngliche Nachricht- > Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im > Auftrag von Ron Andrico > Gesendet: Montag, 19. März 2018 19:15 > An: Eloy Cruz; Lute@cs.dartmouth.edu > Betreff: [LUTE] Re: Betrachte meine Seel > > Playing the bass along with Bach's figuration is a minor challenge but > it's entirely possible with a fingered F-sharp and E-natural. As I am > sure Martyn Hodgson will point out, the part was not conceived for > archlute but rather the mandora or one of its namesakes. I understand > that the Italian archlute as we know it was not likely to be present in > Bach's Germany. > > RA > __ > > > > > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Betrachte meine Seel
Ron, " the part was not conceived for archlute but rather the mandora or one of its namesakes" Do you have any evidence for this? (As I am sure Martyn would ask...) Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Ron Andrico Gesendet: Montag, 19. März 2018 19:15 An: Eloy Cruz; Lute@cs.dartmouth.edu Betreff: [LUTE] Re: Betrachte meine Seel Playing the bass along with Bach's figuration is a minor challenge but it's entirely possible with a fingered F-sharp and E-natural. As I am sure Martyn Hodgson will point out, the part was not conceived for archlute but rather the mandora or one of its namesakes. I understand that the Italian archlute as we know it was not likely to be present in Bach's Germany. RA __ From: lute-...@cs.dartmouth.edu on behalf of Eloy Cruz Sent: Monday, March 19, 2018 2:02 PM To: Lute@cs.dartmouth.edu Subject: [LUTE] Betrachte meine Seel Dear list Whenever you play this arioso from Johannes Passion, do you play the bass line along with the obligato part? It’s a little awkward as long as it includes both f and f # and e and e flat. Best regards eloy To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html [2]Lute Mail list technical information www.cs.dartmouth.edu How do I get on the lute mail list? To get on the mail list, send email with a Subject: of "subscribe" to lute-requ...@cs.dartmouth.edu and your name will be added to ... -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Some questions
I agree, however I surprised myself recently when I felll in love with Dosia McKay's Parting for baroque lute. Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von mathias.roe...@t-online.de Gesendet: Freitag, 16. März 2018 19:29 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Some questions Everybody is free to do with their lutes, or should be so, what they like best. Gilbert's initial observation was, though, that some 90% of this tiny community don't seem to be interested in newly composed music for the lute. And I take it that he wasn't referring to the lute mailing list community exclusively, but to lute loving folks in general. They're fully entitled, aren't they, to not be interested. And I hasten to add that I myself refuse to get involved in lute religious discussions about whether or not lutes should be taken to play modern music. I for one prefer to pick up the guitar for such purposes. Mathias __ Gesendet mit der [1]Telekom Mail App --- Original-Nachricht --- Von: Wayne Betreff: [LUTE] Re: Some questions Datum: 16.03.2018, 18:01 Uhr An: lute net One thing that has not been mentioned is that we have choices - we all, or most of us, or some of us, can choose to play a certain part of our repertoire on our Les Paul/Marshall, or our classical guitar, or our romantic guitar, or our bandora, or ukulele or even saxophone or synth in some cases. If we can choose to play Spanish music on our vihuela we can choose to play Babbit on our (analogue tube) synth. So maybe we are overlooking contemporary lute music because we tend to pick up a different instrument to play something modern. Especially when we need to be as loud as everyone else. Does anyone here not have or play any instrument at all but the lute? Wayne > Begin forwarded message: > > From: WALSH STUART <[2]s.wa...@ntlworld.com> > Subject: [LUTE] Re: Some questions > Date: March 16, 2018 at 12:26:07 PM EDT > > If it seems odd to want to play modern music on a lute it is surely odder to only play a lute and only ever to play music that was composed centuries ago. > > Perhaps no one is odd enough for that! If there were such a person - who would only, ever, play centuries' old music (however gem-laden it may be) - would it be enough to say that this choice was the harmless choice of a free being? > > There is no obvious harm to others in such a case but perhaps it's a case of self-harm. > -- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.t-online.de/service/redir/email_app_android_sendmail_footer.htm 2. mailto:s.wa...@ntlworld.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Reconstructed Dowland duet
Sorry, the last message was meant to be privat ;-) Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Rainer Gesendet: Mittwoch, 21. Februar 2018 15:57 An: Lute net Betreff: [LUTE] Reconstructed Dowland duet Dear lute netters, I seem to remember that Lyle Nordstrom has "reconstructed" a duet part for a piece by Dowland (CLM 62 or 63?). I have no idea where to find that. Probably in an LSA newsletter or Journal. Does anybody know? Are there tables of contents on the LSA web site? Rainer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Reconstructed Dowland duet
Hi Rainer, ich weiÃ, danach hast Du nicht gefragt, aber ich hab mal eine Duo-Version gemacht, jedoch ein paar Sachen in die andere Laute gelegt. Das Heft mit den Dowland-Duetten ist bis heute nicht erschienen, da mich dieses Django-Programm in den Wahnsinn getrieben hat. AuÃerdem beschäftige ich mich im Moment zuviel mit "Neuer Musik", wie Du es mal nanntest ;-) VG Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Rainer Gesendet: Mittwoch, 21. Februar 2018 15:57 An: Lute net Betreff: [LUTE] Reconstructed Dowland duet Dear lute netters, I seem to remember that Lyle Nordstrom has "reconstructed" a duet part for a piece by Dowland (CLM 62 or 63?). I have no idea where to find that. Probably in an LSA newsletter or Journal. Does anybody know? Are there tables of contents on the LSA web site? Rainer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Cherbury lute book - Gautier Son adieu
Dear Markus, your web catalogue is indeed a great resource, so valuable to many, so thank you very much again. I must say, that I recently had some trouble to find the few compositins ascribed to Sigismund Weiss, as his name was abbreviated in the catalogue. Maybe one could fix that? Also, concerning another search, I noticed some false keys here and there, but was to busy (or lazy) to write them down for you. I try harder next time! regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Markus Lutz Gesendet: Freitag, 2. Februar 2018 19:51 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Cherbury lute book - Gautier Son adieu Am 02.02.2018 um 19:04 schrieb Alain Veylit: > I could not find the references to Cherbury on Peter Stueur's site > alas... (I wonder if the Vorhandene Manuskripte table could be given > its own page with more descriptive titles associated with the sources > numbers...) > Alain > Hi Alain, yes it's true, the table "Available Manuscripts" gets more and more complicated, as now there are more than 400 manuscripts. But I fear, an own page for that still would be very/too? complicated. As soon as I have time for it, I will try to put the manuscripts in a sidebar with only showing the manuscripts of one country (or first letter) only. And it also would be a good thing to have the manuscript table, that is intern, searchable. But to add this, I also will need some time. The easiest way to find pieces or manuscripts often is to use the filtering feature: Firstly got to "Manuscripts", the click on "Show Filters" There you can search for - the title you are looking for e.g. "Son Adieu" or "Son Ad" - the manuscript that you are looking for via the beginning of the signature e.g. "GB-Cf" - or for a certain Composer etc. Normally you can use the beginning of the phrase, or even a part within a word, so f.i. "dieu" also will show the searched piece on place 9 (17 entries). The filters normally are case-sensitive! The manuscripts always use the RISM signatures, that have the country first (in this case GB), then a hyphen, and after it the city (C for Cambridge) and then the short signature for the museum: Fitzwilliam Museum = fm; so that it is complete: GB-Cfm After that Peter and me always use a shortened number of the complete signature. The complete signature or title will be given at the beginning of a manuscript or print. The prints have normally the composer, often shortened, and a shortened title of it; or a year: e.g. Dowland-Var for Robert Dowland: Varietie of Lute Lessons I think it is necessary to play around with the site some time to understand, how everything works! But after some exercise nearly everything can be found quite swiftly! Even sometimes new concordances can be found by filtering the incipits! . and if someone finds the site too complicated, he is invited to write to me, and I will see, if I can help or if it is possible to make it easier (if I have the time to do)! Best regards Markus > On 02/02/2018 02:55 AM, Jean-Marie Poirier wrote: > > We do learn at all ages indeed ;-)! > Au passage, thank you Alain for all your hard work so useful to all of us ! > Jen-Marie > > > Le 2 févr. 2018 à 11:10, G. C. [2] a écrit : > >I was not aware of lord Herbert's Jacques Gaultier extradition letter >(found on Alain's site). The fact that some of the pieces have >concordances in both Besard (1603) and Varietie (1610), also exclude >Jacques. >By the way, Alain, you should look at the concordances by Peter Steur >to update those on the Fandango Cherbury page, where the ms. is not too >unreadable. Very nice work, thanks Alain! >G. >On Fri, Feb 2, 2018 at 3:25 AM, Alain Veylit >[3]<[1]al...@musickshandmade.com> wrote: >Just a couple of points of recent history: back some 10 or 15 years >ago, Joel Dugot from the French lute society > >-- > > References > >1. [4]mailto:al...@musickshandmade.com > > > To get on or off this list see list information at > [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > -- > > References > > 1. https://www.youtube.com/watch?v=jY4fsnOIpCE > 2. mailto:kalei...@gmail.com > 3. mailto:[1]al...@musickshandmade.com > 4. mailto:al...@musickshandmade.com > 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de
[LUTE] Re: Cavalcanti
The initial idea might have been that reading the tab is like looking on the instrument of your teacher. regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Ed Durbrow Gesendet: Sonntag, 21. Januar 2018 02:17 An: Tristan von Neumann; lute list Betreff: [LUTE] Re: Cavalcanti If you think of it as just looking in a mirror, it helps. On Jan 21, 2018, at 2:55 AM, Tristan von Neumann wrote: > Dude, you know, everything is upside down? It's just very unintuitive for me if the notes go up, Italian tabs go down. Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=watch https://soundcloud.com/ed-durbrow 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: Vallet's quartets
Dear Rainer, oh yes, a dear memory, but it's just 15 years ago :-) I think we played from the facsimile, and it didn't sound too bad... And Mark has switched gear and is doing historically informed rock music these days, see https://www.facebook.com/RockBottom70sHardRock/ Glad to hear you are still doing editorial work, your Holborne edition was superb! Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Rainer Gesendet: Samstag, 13. Januar 2018 16:43 An: Lute net Betreff: [LUTE] Vallet's quartets Dear lute netters, my Vallet editions has reached milestone 1. All pieces entered and proofread numerous times. 70% of the critical notes entered (a nightmare). I wonder if it makes sense to add the quartets. As far as I know there was an edition published by Tree(?). Anyway, I have played Vallet quartets only once in my life in Mark Wheelers flat in Muelheim 20 years ago. The players were Mark (who seems to have disappeared), Stefan from Wuppertal, Kenneth Bee (still on the lute list?) and myselfe. Now I have listened to one of the quartets in Fronimo. It sounds VERY strange - lots of wrong notes. In his article about the quartets Stan Buetens argued that they sound OK when played on lutes. What do people say who have played the quartets? Should I include them in my edition? Rainer PS Playing music for 4 lutes was really fun :) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New music
I heard Paul O'Dette performing the Langsames Menuet (or similar) from that sonata as an encore years ago. I already knew the music before and found it a bit dry, but Paul's musicianship certainly gave life to it. Regards Stephan ... am 28.12.2017 12:36 nachm., Martyn Hodgson schrieb: To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New music
I like this one here by Dosia McKay, comissioned by Will Tocaben: https://www.youtube.com/watch?v=j6lgO_kWGzo And a nice chat with the composer: https://www.youtube.com/watch?v=StxpE-7YrUY After 10 minutes it gets kind of funny when she talks about her love of Bach's bass lines... Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Toby Carr Gesendet: Freitag, 22. Dezember 2017 00:32 An: lutelist Net Betreff: [LUTE] Re: New music Matthew Wadsworth's latest CD included a new piece for theorbo by Stephen Goss that I think is worth mentioning, and I believe they have plans to continue that collaboration On 21 Dec 2017 23:16, "David van Ooijen" <[1]davidvanooi...@gmail.com> wrote: Like most (pro) lute players, I play, record and arrange my share of contemporary music, have some written for me even, but it's far outnumbered by early music. On Fri, 22 Dec 2017 at 00:12, Daniel Shoskes <[1][2]kidneykut...@gmail.com> wrote: I highly recommend it. I commissioned a work from Ronn McFarlane and I think it's one of his most beautiful: [2][3]https://www.youtube.com/watch?v=iYgAAyMtgtE <[3][4]https://www.youtube.com/watch?v=iYgAAyMtgtE> Ronn playing it live: [4][5]https://www.youtube.com/ watch?v=Cz3j5muuVKc <[5][6]https://www.youtube.com/watch?v=Cz3j5muuVKc> Recording: [6][7]https://itunes.apple.com/us/album/passacaglia/ 878859427?i=8788594 69 <[7][8]https://itunes.apple.com/us/album/passacaglia/ 878859427?i=878859 469> Also commissioned a version of Adon Olam from Rene Schiffer that is in the form of a passacaglia with a theorbo part. Let's keep them gainfully employed! Danny > On Dec 21, 2017, at 5:38 PM, Jacob Johnson <[8][9]tmrguitar...@gmail.com> wrote: > > I don't think that's entirely accurate. Ronn McFarlane plays his own > compositions, Jakob Lindberg performs the Britten Nocturnal (I know, > it's not that new, and it's not really for lute, but IMO it kinda > counts), Chris Wilke recorded a whole cd of Roman Turovsky's new works > for baroque lute, I saw Elizabeth Kenny perform TWO recent theorbo > commissions at the LuteFestWest, and there's certainly more examples I > just can't think of at the moment. > As soon as I can afford to do so, I intend to commission some works for > myself to play. > > Jacob Johnson > [uc?export=download&id=0B6_gM3BRE6ZrYVVZZU5QNmJqdDQ& amp;revid=0B 6_g > M3BRE6ZraW9nQ2U4SGNwV0tYVWxobnNBVjBsZi9FNHhzPQ] > Guitar/Lute > [1][9][10]www.johnsonguitarstudio.com > [11]469.237.0625. > On Thu, Dec 21, 2017 at 4:12 PM, Christopher Stetson > <[2][10][12]christophertstet...@gmail.com> wrote: > > Hello all. > An interesting question, Peter, thanks for bringing it up. To > answer > honestly and personally, I'm not especially interested in new > music, > per se, for any of the instruments I play (mainly lute, guitar, > mandolin, but some others too). I couldn't really say why, > except > that the music I've looked at from the last 30 years tends, and I > mean > tends, to be difficult and not especially tuneful to my ear. > There > are exceptions, of course, and I play some of those, though > mostly on > guitar. I'm not a professional, so I tend to be fairly > conservstive > in the music I choose to spend time seeking out and playing. I > also > don't play many of the old compositions that fit the above > criteria. > I fully realize. however, that one person's difficult is > another > person's interesting, and I'm really glad that people are writing > new > music for lute. > Best to all, and keep playing, > Chris. > >On Thu, Dec 21, 2017 at 2:34 PM, Peter Martin > <[1][3][11][13]peter.l...@gmail.com
[LUTE] Re: Professorship in Cologne
https://www.hfmt-koeln.de/nc/en/aktuelles/stellenangebote.html BTW, this Umlaut-problem seems rather new on my machine, I don't understand this... So, it's Junghaenel... -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stephan Olbertz Gesendet: Donnerstag, 7. Dezember 2017 11:53 An: lute@cs.dartmouth.edu Betreff: [LUTE] Professorship in Cologne Hi all, this is to inform you that the Cologne Musikhochschule is looking for a new lute professor (50 %) in succession to Konrad Junghänel. Application ends on January the 15. Please spread the word to your worldclass friends... Best regards Stephan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Professorship in Cologne
Hi all, this is to inform you that the Cologne Musikhochschule is looking for a new lute professor (50 %) in succession to Konrad Junghänel. Application ends on January the 15. Please spread the word to your worldclass friends... Best regards Stephan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Course with J. Held in Germany
A few places are still available in February in Bochum/Germany. Sorry for the language! ><><>< Liebe Lautenfreunde, am erstem Februar-Wochenende (02.-04.02.18) findet im Bochumer Süden ein Meisterkurs für Laute (bzw. andere historische Zupfinstrumente und Kammermusik) mit Joachim Held statt. Hierfür sind noch einige wenige Plätze für aktive Teilnehmer frei, sowie die Möglichkeit, als Hörer teilzunehmen. Eröffnet wird das Wochenende mit "Lautenmusik von Silvius Leopold Weiss" -- einem Konzert im wundervollen Ambiente der 1000-jährigen Dorfkirche Bochum-Stiepel (Fr., 02.02., 19.30 Uhr). Der Meisterkurs schlieÃt sich Samstag von 10 bis 18 Uhr, sowie Sonntag von 10 bis 13 Uhr in der historischen Wasserburg Haus Kemnade inmitten der Ruhrauen an. Im Burgrestaurant ist natürlich auch ein Raum für uns reserviert... Die Kosten betragen für aktive Teilnehmer 100 EUR (Lautenduos 150), Hörer zahlen 40 EUR (jeweils einschlieÃlich Konzert, ohne Mahlzeiten). Wer nur zum Konzert kommen möchte, zahlt 12 bzw. 8 EUR Eintritt an der Abendkasse. Fragen und Anmeldungen bitte per Mail an mich: stephan.olbe...@web.de Informationen zum Künstler: [1]www.joachim.held.de Herzliche GrüÃe Stephan -- References 1. https://l.facebook.com/l.php?u=http://www.joachim.held.de/&h=ATN-E5HUUXuLO_kczVKsXaAendYW2anOD73gqxen3ZMnlUN0FoS4VtTFsvSAI-QJhN3aMf2mYGFI00ayigRW8hSebav1lFjRV4dNh8vxmjZm9y8TmZnkKK25PCpUqE-UdQQyzDJiXY9GMUqVB5w3w58M8JQ3Fd0pF9AqWo0loMZo0Ae66QMRW1cy6_gnuYxaMEKmz4G4cWmzOr7SS8z6hmN7WNLAIFoRwoFbfC3MNBq1fLihOXDYYEYasfKQ979SBl-fV8XA1_rpmUYn9gHgBzdhlL8cK6DFSzKAtmxBOyY To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In search of some Bach / Weiss old academic articles in German
Have you tried to speak with your university library? Getting books via interlibrary loan or articles in paper or electronic format shouldn't be a problem today, even in Italy... Best wishes Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Luca Manassero Gesendet: Donnerstag, 7. September 2017 19:43 An: lute@cs.dartmouth.edu Betreff: [LUTE] In search of some Bach / Weiss old academic articles in German Dear Lute list, since one year now I'm a student again (Conservatorio of Pavia, Italy - Master in Lute and Theorbo) and am collecting together some literature for my potential thesis work. Since a few weeks I'm trying to have access to three very interesting contributions printed in different German academic journals. These are: Schulze, Hans-Joachim, "Wer intavolierte Johann Sebastian Bachs Lautenkompositionen?" Berichte und Kleine Beiträge. - Musikforschung (Baerenreiter),191Jan-Mar 1966pp. 32-39 Schulze, Hans-Joachim, "Ein unbekannter Brief von Silvius Leopold Weiss." Berichte und Kleine Beiträge.Musikforschung (Baerenreiter) 212Apr-Jun 1968pp. 203-204 Schulze, Hans-Joachim, "'Monsieur Schouster' - ein vergessener Zeitgenosse Johann Sebastian Bachs." in "Bachiana et alia musicologica. Festschrift Alfred Dürr zum 65. Geburtstag" edited by Wolfgang Rehm, 1983, pp. 243-250 Kassel, Baerenreiter I tried to reach these contributions through the Digital Library of the German Universities, but not having any account on it (nor any chance to get one) I was simply locked out. There is an extensive documentation in German at this URL: https://www.hfm-weimar.de/fileadmin/Musikwissenschaft/Musikwissenschaft/Onli nerecherche_MuWi.pdf If anybody out there has access to these three articles in PDF format; I'd be REALLY enormously grateful if s/he could share a copy with me. Thank you, Luca -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: KF vs. new Aquila bass strings
I have wound gut on courses 11 to 14 on my new bass rider lute, and they sound wonderful! Not too bright, not too dull, good transition with the quite openly wound higher basses (Kürschner luxline). Most surprising was the perfect blend with the normal high twist octaves, sounds nearly like one note. Best regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Mimmo - Aquila Corde Armoniche Gesendet: Donnerstag, 31. August 2017 19:59 An: Dan Winheld Cc: Lute List Betreff: [LUTE] Re: KF vs. new Aquila bass strings Thanks Dan. 'The Lute in its historical reality' will be soon update; in fact, there are some new things: 1) Lute chantarelles: I was able to do a few experimental lute 1st string starting from a lamb- whole gut of 1to 3 months of life (see Attyanasius Kirker, Rome 1650) . The samples were even on their whole lenght (not conical or tapered, I mean: see Capirola 1517 ca.); the breacking point was around 36 Kg/mm2; the gauges, -after a slight hand-polishing- were between .39- .42 mm. The sound? Marvelous (isn't interesting?). 2) Vihuela unissons/octaves: I have to re-write some points because they were not well explained. Yes, I still think that the Vihuela 5th, 6th bases were with octaves, not in usissons. 3) 17 th c. lute basses (loaded): I have a few more historical informations to add to the section. 4) There are much more historical evidences concerning the use of wound strings on German d -minor lutes of 11 & 13 courses. The first is of 1716 (Thanks to Andreas Schleger researching). There are others: one of 1730's; one of 1740's; two of 1760's; one of 1790's. Unfortunately is not weritten if the wound strings were done on gut or silk cores. Take care Mimmo Inviato da iPhone > Il giorno 31 ago 2017, alle ore 18:20, Dan Winheld ha scritto: > > And not to be forgotten, the great work of Dan Larson of "Gamut" Strings- using real gut subjected to great research & creativity to bring us lute strings- esp. those troublesome basses- that come closer to a "real" thing! > Dan > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: La folia
Hello Wim, you'll find all six manuscript folia settings for vihuela or viola da mano here: https://www.lute-and-guitar.com/start/renaissance/ Incl. edited versions from the Vienna Ms, Ramillete Ms (two), and the Barbarino Ms (three). Regards, Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Braig, Eugene Gesendet: Samstag, 10. Juni 2017 14:42 An: LuteNet list Betreff: [LUTE] Re: La folia I can't fully answer, but I can narrow your search. Unfortunately, I think several of the early versions of La Folia will be in Italian tablature; I don't know what of these have been subsequently set in French tablature. Dall'Aquila's many settings of La Cara Cossa will be for six-course lute. For vihuela (functionally 6-course lute), there are Pisador's Pavana sobre La Folia, Valderrábano's Pavana and an anonymous Diferencias sobre Folias in the Silva de Sirenas manuscript, and Mendoza's Diferencias de Folías in the Ramillete de Flores manuscript. For four-course guitar (which could be pretty easily realized on renaissance lute by limiting your use of its range) are Mudarra's Una Pavana and Le Roy's settling of the song "Mes pas semez." This last I know was originally in French tablature. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Wim Loos Sent: Saturday, June 10, 2017 7:28 AM To: LuteNet list Subject: [LUTE] La folia Dear friends, I'm looking for La folia in French tablature for Renaissance lute. Does anyone where I can find it. Thanks in advance, Wim Loos -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Half wound strings
Dear all, does anyone know a supplier of half wound gut strings? Not the gimped or luxline typ of strings, as they seem to have less metal than real demi-filés. What I need is something in between luxlines and closewounds for the deepest bass of a baroque lute with bass rider. (Kürschner wonât make them.) Best regards Stephan PS: Sorry for the cross-posting. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Venere 1592
Dear all, I have now what I need, thanks for all the kind responses! Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stephan Olbertz Gesendet: Montag, 10. April 2017 11:46 An: 'Lute List' Betreff: [LUTE] Re: Venere 1592 Oh yes, that must be the one, thanks a lot! Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von David van Ooijen Gesendet: Montag, 10. April 2017 11:31 Cc: Lute List Betreff: [LUTE] Re: Venere 1592 [1]http://www.vanedwards.co.uk/history2.htm *** David van Ooijen [2]davidvanooi...@gmail.com [3]www.davidvanooijen.nl *** On 10 April 2017 at 11:21, Stephan Olbertz <[4]stephan.olbe...@web.de> wrote: Dear all, I need a picture of the original Venere (1592) located in Bologna, Accademia filarmonica, especially of the rose. Does someone have one or know where to find it? If not I will try my luck in Bologna... Thanks and best wishes Stephan -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.vanedwards.co.uk/history2.htm 2. mailto:davidvanooi...@gmail.com 3. http://www.davidvanooijen.nl/ 4. mailto:stephan.olbe...@web.de 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Venere 1592
Oh yes, that must be the one, thanks a lot! Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von David van Ooijen Gesendet: Montag, 10. April 2017 11:31 Cc: Lute List Betreff: [LUTE] Re: Venere 1592 [1]http://www.vanedwards.co.uk/history2.htm *** David van Ooijen [2]davidvanooi...@gmail.com [3]www.davidvanooijen.nl *** On 10 April 2017 at 11:21, Stephan Olbertz <[4]stephan.olbe...@web.de> wrote: Dear all, I need a picture of the original Venere (1592) located in Bologna, Accademia filarmonica, especially of the rose. Does someone have one or know where to find it? If not I will try my luck in Bologna... Thanks and best wishes Stephan -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.vanedwards.co.uk/history2.htm 2. mailto:davidvanooi...@gmail.com 3. http://www.davidvanooijen.nl/ 4. mailto:stephan.olbe...@web.de 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Venere 1592
Dear all, I need a picture of the original Venere (1592) located in Bologna, Accademia filarmonica, especially of the rose. Does someone have one or know where to find it? If not I will try my luck in Bologna... Thanks and best wishes Stephan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Pachelbel canon
I have an arrangement for three baroque lutes of the canon and gigue (player's day proven), if anyone else is interested. It's a Django-file you could change in whatever works. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Leonard Williams Gesendet: Montag, 27. März 2017 01:19 An: Lute List Betreff: [LUTE] Pachelbel canon Is there available an intabulation for ren lute of Pachelbel's canon in d? I heard a performance of a much abbreviated version on tenor ukelele and it actually sound quite nice! Thanks and regards, Leonard Williams To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Warwick Frei and Rauwolf
Dear all, Iâm looking for information on the original body depths of the Warwick Frei and Lindbergâs Rauwolf. Can anyone help? Best regards Stephan -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Autograph BWV998 is available
Cool, better than the black-and-white image already available... Thanks Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von T.Kakinami Gesendet: Samstag, 16. Juli 2016 11:59 An: lute@cs.dartmouth.edu Betreff: [LUTE] Autograph BWV998 is available Digital Copy of the autograph BWV998 is available. Thanks to courtesy from CHRISTIE'S. Visit: http://www.christies.com/zmags?ZmagsPublishID=4ed792ad Click printer icon to obtain PDF or others. T.Kakinami To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: original ms of BWV 998 tomorrow in auction of Christie's
It went for 2,518,500 pounds to -- a private chinese investor. Sigh...
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Peter Steur
Gesendet: Dienstag, 12. Juli 2016 12:33
An: Bernd Haegemann; Stephan Olbertz
Cc: Lute
Betreff: [LUTE] Re: original ms of BWV 998 tomorrow in auction of Christie's
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Some background information can be found at:
www.japantimes.co
jp/news/2016/06/29/national/bach-score-owned-tokyo-music-college-may-fetch-3
-
illion-auction/#.V4TGR_yKSvE.
Peter
---Messaggio originale---
Da: Stephan Olbertz
Data: 12/07/2016 12:29:48
A: 'Peter Steur'; 'Bernd Haegemann'
Cc: 'Lute'
Oggetto: [LUTE] Re: original ms of BWV 998 tomorrow in auction of Christie's
Ueno Gakuen is a private university. Although it seems not to be known how
much they paid for it, they will definitely earn some money: The Ms was sold
in the late sixties for only 5,500 pounds to a previous owner and is now
estimated with up to 2,500,000 pounds... And they are getting rid of the
responsibility to conserve it.
Many thanks to Bernd for sharing the link!
BTW, there is a nice commercial video featuring Jakob Lindberg on the
website, too.
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Peter Steur
Gesendet: Dienstag, 12. Juli 2016 11:51
An: Bernd Haegemann
Cc: Lute
Betreff: [LUTE] Re: original ms of BWV 998 tomorrow in auction of Christie's
--Boundary-00=_6P47SCAK8ID3LVC0
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I had always thought that this particular ms was kept in a public library
somewhere. But the simple fact that it is now on auction (together with
other, much older, mss) suggests that all these mss are (still) privately
owned.
Personally, I can only hope that one of the world's libraries will be in the
position to acquire one or more of these mss! Were it just for the sake of
having access to them.
Peter
---Messaggio originale---
Da: b...@symbol4.de
Data: 12/07/2016 10:44:56
Cc: List LUTELIST
Oggetto: [LUTE] original ms of BWV 998 tomorrow in auction of Christie's
http://www.christies.com/lotfinder/books-manuscripts/bach-johann-sebast
ian-6012445-details.aspx
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--Boundary-00=_6P47SCAK8ID3LVC0
Content-Type: Text/HTML;
charset="iso-8859-1"
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v\:* {
BEHAVIOR: url (#default#vml)
}
I had always thought that this
particular ms was kept in a public library somewhere. But the simple fact
that it is now on auction (together with other, much older, mss) suggests
that all these mss are (still) privately owned.
Personally, I can only hope that one of the world's libraries will be
in the position to acquire one or more of these mss! Were it just for
the sake of having access to them. Peter
---Messaggio originale---
Da: mailto:b...@symbol4.de">b...@symbol4.de
Data: 12/07/2016
10:44:56 Cc: mailto:lute@cs.dartmouth.edu";>List LUTELIST Oggetto: [LUTE] original ms of
BWV 998 tomorrow in auction of Christie's
http://www.christies.com/lotfinder/books-manuscripts/bach-johann-sebas
t">http://www.christies.com/lotfinder/books-manuscripts/bach-johann-sebast
ian-6012445-details.aspx
To get on or off this list see list
information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html";>http://www.cs.
dartmouth.edu/~wbc/lute-admin/index.html
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">
http://www.incredimail.com?id=621161&did=10501&ppd=2861,201207
171420,16,1,1953940358219890687">
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">Animazioni GRATIS per la tua
e-mail
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">
http://www.incredimail.com/?id=621161&did=1050
[LUTE] Re: original ms of BWV 998 tomorrow in auction of Christie's
Ueno Gakuen is a private university. Although it seems not to be known how
much they paid for it, they will definitely earn some money: The Ms was sold
in the late sixties for only 5,500 pounds to a previous owner and is now
estimated with up to 2,500,000 pounds... And they are getting rid of the
responsibility to conserve it.
Many thanks to Bernd for sharing the link!
BTW, there is a nice commercial video featuring Jakob Lindberg on the
website, too.
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Peter Steur
Gesendet: Dienstag, 12. Juli 2016 11:51
An: Bernd Haegemann
Cc: Lute
Betreff: [LUTE] Re: original ms of BWV 998 tomorrow in auction of Christie's
--Boundary-00=_6P47SCAK8ID3LVC0
Content-Type: Text/Plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
I had always thought that this particular ms was kept in a public library
somewhere. But the simple fact that it is now on auction (together with
other, much older, mss) suggests that all these mss are (still) privately
owned.
Personally, I can only hope that one of the world's libraries will be in the
position to acquire one or more of these mss! Were it just for the sake of
having access to them.
Peter
---Messaggio originale---
Da: b...@symbol4.de
Data: 12/07/2016 10:44:56
Cc: List LUTELIST
Oggetto: [LUTE] original ms of BWV 998 tomorrow in auction of Christie's
http://www.christies.com/lotfinder/books-manuscripts/bach-johann-sebast
ian-6012445-details.aspx
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--Boundary-00=_6P47SCAK8ID3LVC0
Content-Type: Text/HTML;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
v\:* {
BEHAVIOR: url (#default#vml)
}
I had always thought that this
particular ms was kept in a public library somewhere. But the simple fact
that it is now on auction (together with other, much older, mss) suggests
that all these mss are (still) privately owned.
Personally, I can only hope that one of the world's libraries will be
in the position to acquire one or more of these mss! Were it just for
the sake of having access to them. Peter
---Messaggio originale---
Da: mailto:b...@symbol4.de";>b...@symbol4.de
Data: 12/07/2016
10:44:56 Cc: mailto:lute@cs.dartmouth.edu";>List LUTELIST Oggetto: [LUTE] original ms of
BWV 998 tomorrow in auction of Christie's
http://www.christies.com/lotfinder/books-manuscripts/bach-johann-sebas
t">http://www.christies.com/lotfinder/books-manuscripts/bach-johann-sebast
ian-6012445-details.aspx
To get on or off this list see list
information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html";>http://www.cs.
dartmouth.edu/~wbc/lute-admin/index.html
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">
http://www.incredimail.com?id=621161&did=10501&ppd=2861,201207
171420,16,1,1953940358219890687">
http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712">Animazioni GRATIS per la tua
e-mail
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7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
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http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
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http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
20160712"> http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
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20160712" border="0">Fai clic qui! http://www.incredimail.com/?id=621161&did=10501&ppd=2861,20120
7171420,16,1,1953940358219890687&rui=156356875&app_test_id=0&sd=
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--Boundary-00=_6P47SCAK8ID3LVC0--
--
[LUTE] Re: Haydn on lute?
Hi Arto, it's in Augsburg and Brussels. You'll find everything you need to know in Tim Crawford's article "Haydn's music for lute" in: Le luth et sa musique II, Paris 1980, p. 69-86. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Arto Wikla Gesendet: Donnerstag, 19. Mai 2016 23:55 An: lutelist Net Betreff: [LUTE] Haydn on lute? Dear fellow lutenists. there is some chamber music to lute by Haydn. I just cannot find it! Any advice or help? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Not really a lute question but...
Dear David and all,
there is a little piece ("basa e alta") on the last pages that I included in
my edition of the manuscript sources for vihuela. Here's what I wrote in the
comment:
Madrid, Biblioteca Nacional, R 14630
Manuscript addendum to: Alonso Mudarra, TRES LIBROS DE MVSICA EN CIFRAS PARA
VIHVELA (Sevilla 1546), later pencil foliation 113r122r.
This manuscript in Italian tablature consists of 6 complete pieces and one
fragmentary piece copied from Miguel de Fuenllanas 1554 print, followed by
an incomplete anonymous dance in a different hand which is edited here for
the first time. It has been argued that at least the first copyist, possibly
one Dominguos Romano who left his name on a blanc page of the book, is of
portugese origin and that thus the manuscript is the only surviving
portugese vihuela tablature. However, and quite surprisingly, the title
page bears a simple drawing of a lute player, added most probably by one of
the copyists.
basa e alta, f. 120v122r
The piece has only rudimentary rhythm symbols and just one barline after the
first measure. The second part, marked alta, was never finished by the
scribe and has been reconstructed according to the romanesca scheme that
probably was intended here. There is another "Bassa,& Alta" printed in
Fabritio Carosos dancing manual "Il ballarino," which is not only
considerably longer but has also a different rhythmic structure.
Ref. Rosa Picado/Joseph Palhão, Rojão - Um Prelúdio Português no Séc. XVIII
(Coimbra, 2004), p. 24.
For my edition see www.lute-and-guitar.com
If anyone wants a copy of the edited piece, please drop me a line. I put it
together later.
Best regards
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von David Van Edwards
Gesendet: Dienstag, 10. Mai 2016 11:31
An: Jean-Marie Poirier
Cc: Dmitry Medvedev; 'Lute List'
Betreff: [LUTE] Re: Not really a lute question but...
Indeed what a resource, thank you!
I originally bought the CD from the Lute Society but had to send it back
because it didn't work on a Mac, so it had more problems than were quite
justifiable right from the start.
BTW have you noticed the heretical drawing of a *lute* player on the
titlepage of the Mudarra book?! Could it be by Dominguos Romano? He was one
of the previous owners and signed a later page in ink.
Best wishes,
David
At 10:49 +0200 10/5/16, Jean-Marie Poirier wrote:
>Wonderful job Dimitry ! Thank you for sharing this link !
>
>All the best,
>
>Jean-Marie
>
>
>--
>
>>OK, I know this is not strictly in accordance with copyright and all
>>that, but I did try to contact the original publishers about it with
>>no result...
>>I have recently created a web-based "remake" of the old vihuela books
>>CD, which has all the original catalog information plus the updated
>>images. I would be happy to make it "official" somehow, and I even
>>offered the publisher my help with updating their software, completely
>>free of charge, but like I said, they were not interested...
>>Here is the website itself, feel free to test, and let me know if you
>>want any extra features etc.
>>http://www.musicaparavihuela.com/
>>
>>Cheers,
>>Dmitry
>>
>>On 5/9/2016 5:34 PM, Sean Smith wrote:
>>> Hi Monica,
>>>
>>> I have this CD of vihuela books and also found the interface less
>>>than ideal. I opened it as its own folder (Finder in my case although
>>>I imagine Explore would do it, too) and found the group of images for
>>>each book. I named a new folder on my desktop for each book/composer
>>>and dragged the images en masse to the respective folder. At the end
>>>of the day (ok, it didn't take that
>>>long) I had a folder for each book. To further help keep it straight,
>>>I duplicated the images of the tables of content and labeled them
>>>"TOC, chapter 'X"' as needed so I could find the pieces as I need
>>>them. Then I never used the CD again.
>>>
>>> I took the liberty of responding to the group as well because I've
>>>seen this come up before concerning this CD. I hope this helps.
>>>
>>> Sean
>>>
>>>
>>> On May 9, 2016, at 11:48 AM, mjlh...@tiscali.co.uk wrote:
>>>
Many thanks for this. It will take some time to digest and check
everything you suggest.
it was upgraded from Windows 7.
Inadvertently - it just happened. The CDROM is of the vihuela books
and the music CD was newish.
I don't want to take up too much of anyone's time so I'll try
what you suggest and see what happens.
Thanks to others who also replied.
Best
Monica
Original Message
From: tiorbin...@gmail.com
Date: 09/05/2016 18:45
To: "mjlhall@tiscali.
co.uk"
Subj: Re: [LUTE] Not really a lute question but...
Hi Monica,
First thing: is this a problem with one CD or all of them? (Had
to ask.) If it is just one, inspect the surface (not the label
[LUTE] Re: Mi bemol majeur, tuning of bass strings.
BTW, it's Gottlieb Siegmund Jacobi rather. http://homepages.bw.edu/bachbib/script/bach1at.pl Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Stephan Olbertz Gesendet: Freitag, 22. April 2016 06:56 An: 'Herbert Ward'; lute@cs.dartmouth.edu Betreff: [LUTE] Re: Mi bemol majeur, tuning of bass strings. Andreas Schlegel has published an edition for a normal 13-course setup. Search for "lute corner". Best wishes Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Herbert Ward Gesendet: Donnerstag, 21. April 2016 14:52 An: lute@cs.dartmouth.edu Betreff: [LUTE] Mi bemol majeur, tuning of bass strings. I am starting a Baroque lute suite by one Johann Christian Jacobi. The title page has "Mi bemol majeur". Does this definitely indicate that I should tune my bass strings to an E-flat major scale: Ab, Bb, C, D, Eb, F, and G? The PDF is at https://dl.dropboxusercontent.com/u/60516846/Partitions_pour_luth_baroque/Mu siques/Les_manuscrits/Harrach_Rohrau/V12_Luth_solo/Tablature/H12_2_Jacobi_Su ite.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Mi bemol majeur, tuning of bass strings.
Andreas Schlegel has published an edition for a normal 13-course setup. Search for "lute corner". Best wishes Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Herbert Ward Gesendet: Donnerstag, 21. April 2016 14:52 An: lute@cs.dartmouth.edu Betreff: [LUTE] Mi bemol majeur, tuning of bass strings. I am starting a Baroque lute suite by one Johann Christian Jacobi. The title page has "Mi bemol majeur". Does this definitely indicate that I should tune my bass strings to an E-flat major scale: Ab, Bb, C, D, Eb, F, and G? The PDF is at https://dl.dropboxusercontent.com/u/60516846/Partitions_pour_luth_baroque/Mu siques/Les_manuscrits/Harrach_Rohrau/V12_Luth_solo/Tablature/H12_2_Jacobi_Su ite.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vincenzo Galilei and The Well-Tempered Lute
Well, you are free to join in the scholarly discourse :-) Stephan Von: Dante Rosati [mailto:danteros...@gmail.com] Gesendet: Montag, 1. Februar 2016 16:18 An: Stephan Olbertz Cc: Lute Net Betreff: Re: [LUTE] Re: Vincenzo Galilei and The Well-Tempered Lute you mean some guy named Bradley Lehman's own crazy conspiracy theory about Bach's tuning. On Mon, Feb 1, 2016 at 1:54 AM, Stephan Olbertz <[1]stephan.olbe...@web.de> wrote: Not to forget Bach's own tuning: [2]http://www.larips.com Regards Stephan -Urspruengliche Nachricht- Von: [3]lute-...@cs.dartmouth.edu [mailto:[4]lute-...@cs.dartmouth.edu] Im Auftrag von Christopher Wilke Gesendet: Sonntag, 31. Januar 2016 20:58 An: Dante Rosati; Roman Turovsky Cc: Lute Net Betreff: [LUTE] Re: Vincenzo Galilei and The Well-Tempered Lute "Well-tempered" is a non-specific term. It's been applied to tuning systems proposed by a number of theorists including Werckmeister, Neidhardt, Kirnbertger, Valotti, etc. There is no scholarly consensus about which one of these - if any - Bach may have intended in "Das Wohltemperierte Klavier." Galilei obviously didn't use any of those. "Well-tempered," then, is a general term that apparently means "tuned well" in this context in reference to the composer's interest in practical tuning. I don't think Zak is trying to mislead anyone and there's really no need for him to justify the album title. Chris [1]Sent from Yahoo Mail for iPhone On Sunday, January 31, 2016, 1:42 PM, Dante Rosati <[5]danteros...@gmail.com> wrote: i dont see anyone arguing against ET. the point is simple: the CD is called "the well tempered lute" (an obvious reference to the "well tempered clavier"), but, unlike Bach's cycle, which was actually meant to be played in a "well temperament" (which is not equal temperament), the Galelei pieces are meant to be played in equal temperament, and according to Zak, that is indeed how his lute is tuned. Its more an issue of false advertisement. Thats why, when I saw his original post, I was like "oh, that sounds interesting: a lute somehow fretting in a well-temperament! let me ask how he does it." [cleardot.gif] On Sun, Jan 31, 2016 at 12:57 PM, Roman Turovsky <[1][2][6]r.turov...@gmail.com> wrote: uffa Reminds me of an old armenian joke, about a guy who was selling a weird purple horse. Asked how come it is that way, he said: "It is mine, and I paint it whatever color I want." You may tune your axe whichever way pleases you, if the end-result justifies it. I'm certain Gorzanis and Galilei found ET to be as beautiful as I do. RT On 1/31/2016 12:25 PM, Dante Rosati wrote: that is not relevant to the issue of calling a recording of Galelei lute pieces "well tempered" when its not. On Sun, Jan 31, 2016 at 12:20 PM, Roman Turovsky <[1][2][3][7]r.turov...@gmail.com> wrote: Werckmeister switched to EqualT toward the end of his life. RT On 1/31/2016 12:16 PM, Dante Rosati wrote: [2][3][4][8]https://en.wikipedia.org/wiki/Well_temperament On Sun, Jan 31, 2016 at 12:11 PM, Roman Turovsky <[3][4][5][9]r.turov...@gmail.com> wrote: Early history One of the earliest discussions of equal temperament occurs in the writing of [1]Aristoxenus in the 4th century BC. [2]Vincenzo Galilei (father of [3]Galileo Galilei) was one of the first practical advocates of twelve-tone equal temperament. He composed a set of dance suites on each of the 12 notes of the chromatic scale in all the "transposition keys", and published also, in his 1584 "[4]Fronimo", 24 + 1 [5]ricercars.^[6][22] He used the 18:17 ratio for fretting the lute (although some adjustment was necessary for pure octaves).^[7][23] Galilei's countryman and fellow [8]lutenist [9]Giacomo Gorzanis had written music based on equal temperament by 1567.^[10][24]^[11][25] Gorzanis was not the only lutenist to ex
[LUTE] Re: Vincenzo Galilei and The Well-Tempered Lute
Not to forget Bach's own tuning: http://www.larips.com Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Christopher Wilke Gesendet: Sonntag, 31. Januar 2016 20:58 An: Dante Rosati; Roman Turovsky Cc: Lute Net Betreff: [LUTE] Re: Vincenzo Galilei and The Well-Tempered Lute "Well-tempered" is a non-specific term. It's been applied to tuning systems proposed by a number of theorists including Werckmeister, Neidhardt, Kirnbertger, Valotti, etc. There is no scholarly consensus about which one of these - if any - Bach may have intended in "Das Wohltemperierte Klavier." Galilei obviously didn't use any of those. "Well-tempered," then, is a general term that apparently means "tuned well" in this context in reference to the composer's interest in practical tuning. I don't think Zak is trying to mislead anyone and there's really no need for him to justify the album title. Chris [1]Sent from Yahoo Mail for iPhone On Sunday, January 31, 2016, 1:42 PM, Dante Rosati wrote: i dont see anyone arguing against ET. the point is simple: the CD is called "the well tempered lute" (an obvious reference to the "well tempered clavier"), but, unlike Bach's cycle, which was actually meant to be played in a "well temperament" (which is not equal temperament), the Galelei pieces are meant to be played in equal temperament, and according to Zak, that is indeed how his lute is tuned. Its more an issue of false advertisement. Thats why, when I saw his original post, I was like "oh, that sounds interesting: a lute somehow fretting in a well-temperament! let me ask how he does it." [cleardot.gif] On Sun, Jan 31, 2016 at 12:57 PM, Roman Turovsky <[1][2]r.turov...@gmail.com> wrote: uffa Reminds me of an old armenian joke, about a guy who was selling a weird purple horse. Asked how come it is that way, he said: "It is mine, and I paint it whatever color I want." You may tune your axe whichever way pleases you, if the end-result justifies it. I'm certain Gorzanis and Galilei found ET to be as beautiful as I do. RT On 1/31/2016 12:25 PM, Dante Rosati wrote: that is not relevant to the issue of calling a recording of Galelei lute pieces "well tempered" when its not. On Sun, Jan 31, 2016 at 12:20 PM, Roman Turovsky <[1][2][3]r.turov...@gmail.com> wrote: Werckmeister switched to EqualT toward the end of his life. RT On 1/31/2016 12:16 PM, Dante Rosati wrote: [2][3][4]https://en.wikipedia.org/wiki/Well_temperament On Sun, Jan 31, 2016 at 12:11 PM, Roman Turovsky <[3][4][5]r.turov...@gmail.com> wrote: Early history One of the earliest discussions of equal temperament occurs in the writing of [1]Aristoxenus in the 4th century BC. [2]Vincenzo Galilei (father of [3]Galileo Galilei) was one of the first practical advocates of twelve-tone equal temperament. He composed a set of dance suites on each of the 12 notes of the chromatic scale in all the "transposition keys", and published also, in his 1584 "[4]Fronimo", 24 + 1 [5]ricercars.^[6][22] He used the 18:17 ratio for fretting the lute (although some adjustment was necessary for pure octaves).^[7][23] Galilei's countryman and fellow [8]lutenist [9]Giacomo Gorzanis had written music based on equal temperament by 1567.^[10][24]^[11][25] Gorzanis was not the only lutenist to explore all modes or keys: [12]Francesco Spinacino wrote a "Recercare de tutti li Toni" ([13]Ricercar in all the Tones) as early as 1507.^[14][26] In the 17th century lutenist-composer [15]John Wilson wrote a set of 30 preludes including 24 in all the major/minor keys.^[16][27]^[17][28] [18]Henricus Grammateus drew a close approximation to equal temperament in 1518. The first tuning rules in equal temperament were given by [19]Giovani Maria Lanfranco in his "Scintille de musica".^[20][29] [21]Zarlino in his [22]polemic with Galilei initially opposed equal temperament but eventually conceded to it in relation to the [23]lute in his Sopplimenti musicali in 1588. RT On 1/31/2016 12:04 PM, Dante Rosati wrote: "something like" equal temperament. If you look at fret placin
[LUTE] Re: Repertoire questions
Hello Peter, I would try some Diego Ortiz first, but it could require transposition. Ortiz really rocks :-) Also the Vivaldi trios with lute will work well, you wouldn't need the unisono-violin. And there's an anonymous concerto for lute and continuo from the Spencer collection. There was a transcription on Arthur Ness's page, but it doesn't seem to exist anymore. I'm sure someone can send it to you. Best regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Peter Kwasniewski Gesendet: Montag, 2. November 2015 23:07 An: Sean Smith Cc: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Repertoire questions Is this the one you are referring to -- [1]http://www.earlymusicshop.com/product.aspx/en-GB/1095936-girolamo-da lla-casa-and-giovanni-bassano-divisions Peter On Mon, Nov 2, 2015 at 12:48 PM, Sean Smith <[2]lutesm...@mac.com> wrote: Hi Peter, There are the divisions on vocal repertory from the latter half of the 16th century. Either lute or organ could play the original chanson and the other could take the fancy bits. The London Pro Musica editions work nicely - for example #13, Divisions on Vestiva i colli (Palestrina), includes simple reductions for lute and keyboard plus 4 variations. Though a bit of work, they aren't as difficult as the Terzi duets. They, too, would be fair game for the duo but you might be doing your own editing. Sean On Nov 2, 2015, at 10:28 AM, Peter Kwasniewski wrote: Geoff, Many thanks for your note. I can see that the real solution for my children is simply to forge ahead with the figured bass, otherwise it won't be possible! Meanwhile, Arto Wikla sent me a PDF of the Robert Dowland score, for which I am very grateful. Peter On Mon, Nov 2, 2015 at 10:48 AM, Geoff Gaherty <[1][3]ge...@gaherty.ca> wrote: On 2015-11-02 11:56 AM, Peter Kwasniewski wrote: I am looking for repertoire for organ and lute -- either purely instrumental, or in accompaniment of solo or choral voices. I am wondering if there are some scores that combine lute tablature with a fully realized keyboard part, as my children are not able yet to read from figured bass. If any of you has seen or produced something like that, I'd be excited to see it. Hi Peter, Lute and small organ together was a very common continuo combination, especially in England in the 17th century.It works really well because the two instruments compliment each other perfectly: the lute has a precise attack but can't sustain, while the organ sustains but lacks a precise attack.Unfortunately there are very few if any written out realizations. A particular question: Has anyone seen Caccini's "Amarilli, mia bella" written out in tablature for a 6-course lute? Robert Dowland published a tablature edition of this song in his 1610 book "A Musical Banquet," available in a modern facsimile. It's probably also at [2][4]imslp.org, but their web site seems to be down today. Geoff -- Geoff Gaherty Foxmead Observatory Coldwater, Ontario, Canada [3][5]http://www.gaherty.ca [4][6]http://starrynightskyevents.blogspot.com/ To get on or off this list see list information at [5][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Peter A. Kwasniewski Wyoming Catholic College 306 Main Street, Lander, WY 82520 College offices: [8](307) 332-2930 My direct line: [9](307) 335-4418 Websites: [6]Wyoming Catholic College [7]The Aquinas Institute [8]Catholic Social Teaching [9]Sacred Music -- References 1. mailto:[10]ge...@gaherty.ca 2. [11]http://imslp.org/ 3. [12]http://www.gaherty.ca/ 4. [13]http://starrynightskyevents.blogspot.com/ 5. [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. [15]http://www.wyomingcatholiccollege.com/ 7. [16]http://www.theaquinasinstitute.org/ 8. [17]http://www.thomasstorck.org/ 9. [18]http://www.ccwatershed.org/kwasniewski -- Peter A. Kwasniewski Wyoming Catholic College 306 Main Street, Lander, WY 82520 College offices: (307) 332-2930 My direct line: (307) 335-4418 Websites: [19]Wyoming Catholic College [20]The Aquinas Institute [21]Catholic Social Teaching [22]Sacred Music -- References 1. http://www.earlymusicshop.com/product.aspx/en-GB/1095936-girolamo-dalla-casa -and-giovanni-bassano-divisions 2. mailto:lutesm...@mac.com 3. mailto:ge...@gaherty.ca 4. http://imslp.org/ 5. http://www.gaherty.ca/ 6. http://starrynightskyevents.blogspot.com/ 7. http://www.cs.dartmouth.edu/~wbc/lute-a
[LUTE] New edition
Dear all, I would like to introduce my new edition with 36 pieces from all the known manuscript sources for vihuela/viola da mano! The music has been gathered from eight originally Spanish and Italian sources and is edited here for the first time in one book, all in French tablature. An extensive critical commentary documents all editorial changes and reconstructions. Includes 14 variations on the folia, romanesca, pavanilla, etc.; 11 recercatas, fantasias, toccatas, etc.; 6 intabulations; 5 dances. For a sample please go to: [1]www.lute-and-guitar.com Thanks Stephan -- References 1. http://www.lute-and-guitar.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Two alfabeto prints (Pesaro Abbatessa) New UR Research Publications for dates: 01/21/2015 - 01/22/2015
That's probably what you get if you give an ape a laptop with a tab generator instead of a typewriter. Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von WALSH STUART Gesendet: Mittwoch, 4. März 2015 09:55 An: Gary R. Boye; AJN; lute@cs.dartmouth.edu Betreff: [LUTE] Re: Two alfabeto prints (Pesaro Abbatessa) New UR Research Publications for dates: 01/21/2015 - 01/22/2015 > The relationship of this book to other Pesaro tablatures is complex; I > hope to publish a web page with information on them soon. I visited > Rochester in November 2013 and moved these two tablatures and a few > other things up in the queue; it took them awhile but they came up in > January. > > As for quality of music, well, it's Pesaro. I keep waiting for him to > find his voice and be more than historically interesting, but in vain > . . . But I wouldn't say it is unplayable, on the whole, just "clunky" > (to use a non-musicological term). > > Gary > I think that, for example, some early Granata and Coriandoli might be described as "clunky" (= meagre, thin, lacking!?) but Pesaro's mixed tabs don't even offer the hope of being reconstructed to "clunky". Here are a couple of pieces from Lo Scrigno Armonico: http://www.pluckedturkeys.co.uk/musicp2.jpg http://www.pluckedturkeys.co.uk/musicp3.jpg I'm happy to be proved wrong. But it does seem very strange fare to actually publish. I put up some pics from Lo Scrigno years ago: http://www.pluckedturkeys.co.uk/Pesori/ Could it be that people bought the book because it looked impressive? Stuart --- This email has been checked for viruses by Avast antivirus software. http://www.avast.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Obbligato lute and theorbo
This is exciting! "Hier hängt die Unschuld nackt und bloss", aria with Tenor
and (judged by the mp3 on amzon.de) d-minor theorbo. Gebel was a close
friend of Johann Kropfgans. I believe his single lute piece is an
arrangement of a pantaleon solo, which Gebel played quite succesfully (he
used an all gut-strung instrument, BTW).
Thanks and best regards
Stephan
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von David van Ooijen
Gesendet: Mittwoch, 11. Februar 2015 11:51
An: Stephan Olbertz
Cc: lutelist Net
Betreff: [LUTE] Re: Obbligato lute and theorbo
Dear Stephan
I stand corrected. I remembered it as Graupner because of the
anniversary year and because ofA all the Graupner I played myself, but
it was Gebel. Georg Gebel. Johannes Passion with obligato lute.A
My apologies for the wild goose chase and/or red herrings. Neither for
Lent.A
David
On Wednesday, February 11, 2015, Stephan Olbertz
<[1]stephan.olbe...@web.de> wrote:
Dear David,
I'm afraid I'm still not able to find it. Lots of amazing music, but
no lute
and no St. John/Johannes
Now, what did your friend play?
Regards
Stephan
-UrsprA 1/4ngliche Nachricht-
Von: [2]lute-...@cs.dartmouth.edu
[mailto:[3]lute-...@cs.dartmouth.edu] Im Auftrag
von David van Ooijen
Gesendet: Mittwoch, 4. Februar 2015 11:37
An: Stephan Olbertz; lutelist Net
Betreff: [LUTE] Re: Obbligato lute and theorbo
A A I'm nit at home so cannit check. Graupner'sA Johannes is onA in
A A YouTube. It was a bit of a fad in Holland some years ago, at
the
A A anniversary of Graupners birth or death. It's a long piece.
Haven't
A A played it myself, but aA friend did and tild me it was
nicedavid
A A On Wednesday, February 4, 2015, Stephan Olbertz
A A <[1][4]stephan.olbe...@web.de> wrote:
A A A Hi David,
A A A the Graupner reference is interesting, but I neither can
find a
A A A lute-instrumentation in the database of his works, nor a
"Joahnnes
A A A Passion".
A A A Could you clarify this?
A A A [2][5]http://www.graupner-digital.org/gwv.php
A A A Thanks and regards
A A A Stephan
A A A -UrsprA 1/4ngliche Nachricht-
A A A Von: [3][6]lute-...@cs.dartmouth.edu
A A A [mailto:[4][7]lute-...@cs.dartmouth.edu] Im Auftrag
A A A von David van Ooijen
A A A Gesendet: Mittwoch, 4. Februar 2015 09:09
A A A Cc: List LUTELIST
A A A Betreff: [LUTE] Re: Obbligato lute and theorbo
A A A AA A Wagner aria in Meistersinger.
A A A AA A Britten aria in The Triumph Orianna (written for lute
but final
A A A score
A A A AA A has guitar)
A A A AA A There's a lot of Telemann that has lute(like)
instruments
A A A obligato.
A A A AA A Worth to check his cantatas.
A A A AA A Graupner too (there's obligato lute in his Johannes
Passion)
A A A AA A Bach (Mattheus, Johannes and the Trauerode)
A A A AA A Handel (/Mozart) Caecilia Ode
A A A AA A Several contemporary pieces have arias with obligato
lute.
A A A Perhaps this
A A A AA A falls A outside your project?
A A A AA A David
A A A AA A ***
A A A AA A David van Ooijen
A A A AA A [1][5][8]davidvanooi...@gmail.com
A A A AA A [2][6][9]www.davidvanooijen.nl
A A A AA A ***
A A A AA A On 4 February 2015 at 08:55, jean-michel Catherinot
A A A AA A <[3][7][10]jeanmichel.catheri...@cs.dartmouth.edu>
wrote:
A A A AA AA A AAA A la nascita of Albinoni is also on ISMLP
A A A AA AA A AAA A Le Mercredi 4 fA(c)vrier 2015 0h02, Andrea
Damiani
A A A AA AA A AAA A <[4][8][11]andreadelli...@gmail.com> a
A(c)crit :
A A A AA AA A AAA AAA A Dear Diego
A A A AA AA A AAA AAA A I can add:
A A A AA AA A AAA AAA A F. Gasparini: L'oracolo del fato
(Garland
A A A facsimile)
A A A AA AA A AAA AAA A T. Albinoni: Il nascimento dell'Aurora
A A A (unfortunately I have
A A A AA AA A not the
A A A AA AA A AAA AAA A music, I played it many years ago, the
ms. should
A A A be in
A A A AA AA A Wien)
A A A AA AA A AAA AAA A G.B. Pergolesi: La morte di San
Giovanni (I
A A A haven't this any
A A A AA AA A more...)
A A A AA AA A AAA AAA A F.B. Conti: David (I can find this out
but need
A A A some
A A A AA AA A time...)
A A A AA AA A AAA AAA A Andrea
A A A AA AA A AAA AAA A 2015-02-03 10:57 GMT+01:00 Diego
C
[LUTE] Re: Avoiding cracks and lute parts getting unglued - dry weather
Hallo Susanne, I once got the recommendation not only to be sure to always use a wooden case, as it keeps some moisture in the material, but to close it every time while playing, so that the moisture will not escape so easily from the case. Viele Grüße Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von Susanne Herre Gesendet: Sonntag, 11. Januar 2015 15:52 An: LuteNet Betreff: [LUTE] Avoiding cracks and lute parts getting unglued - dry weather Dear lute friends, It's winter time, so e.g. in Central Europe here it can be quite dry outside. As a result of a train trip on one of those dry days the table of my baroque mandolin loosened from the body although I avoided to put my instrument next to heatings and put some water inside the case. What might be the reasons of those things happening? Is it about the changing from the train to the outside e.g.? Is it the dryness inside the (often too strongly) heated train? Can it happen in a few seconds/minutes having laid the instrument next to a hidden heating? What are you doing to avoid those miseries? Is it better to loosen the strings? How much water and in which way do you put it into the case? Many thanks for helpful hints! Susanne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] BWV 1031 and 1020
Dear all, sorry for the following shameless plug, and also for any double messages: I started to publish editions for lute and guitar, beginning with arrangements of BWV 1020 and 1031 for violin, baroque lute and violoncello. The edition is comprehensive and scholarly made, and it accompanies an article published in the latest Bach Jahrbuch (Stephan Olbertz: Verborgene Trios mit obligater Laute? - Zu Fragen der Fassungsgeschichte und Autorschaft der Sonaten Es-Dur und g-Moll, BWV 1031 und 1020, Bach-Jahrbuch 99 (2013), pp. 261-277). To cut a long story short: The known versions for flute and harpsichord are nowadays doubted to be composed by any member of the Bach-family. It is quite probable that they were arranged from former lute-trio versions and I suggest Carl Heinrich Graun as the original composer. Because of the extensive and detailed commentary this edition is in German only! Sorry... Please visit [1]http://lute-and-guitar.com for details. Best wishes Stephan -- References 1. http://lute-and-guitar.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] AW: peg wonèt budge
Push the peg out from the other side with a pencil or something like this while turning it. Worked for me. Regards Stephan -Ursprüngliche Nachricht- Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag von gtung.wal...@utoronto.ca Gesendet: Sonntag, 14. September 2014 21:39 An: Lute@cs.dartmouth.edu Betreff: [LUTE] peg wonèt budge Hello lute folks, My 13 course went from a warmer dryer environment to a colder wetter environment quite suddenly. One of the fourth-course pegs, which has always given me problems, being harder to turn than the others, refused to budge no matter what gently persistent prodding or brute force I applied. My lute has now returned to its warmer dryer environment, but that peg is still as tight as ever. I have several lutes and I have experienced tight pegs before, but I have never experienced a peg as stubbornly immobile as this. Anyone have any advice? Thank in advance, Brad To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 12 Course Lutes
There was a painting showing a 12c lute with a single peg box in the Schaezlerpalais in Augsburg, where the lectures of the recent German lute society meeting were located. I forgot the painter, though... Stephan Am 18.05.2014, 20:38 Uhr, schrieb Mathias Rösel : But on the other hand, it does seem plausible to me that builders experimented with adding one extra course to 11 course lutes, before they came up with the bass rider. Maybe Baron played one such experimental instrument? Can't see why one should assume that. The lute he holds on the famous engraving is an 11c lute. Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Neemann-lute
A lute by Hans Neemann, didn't know he built instruments... http://www.ebay.de/itm/SCHONE-BAROCKLAUTE-LAUTE-HANDARBEIT-H-NEEMANN-1937-AN-RESTAURATOREN-/231218030073?pt=Gitarren&hash=item35d5ab25f9 -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute sonatas of Antonino Reggio
Ralf, judged by the score of vol 1, the music would go up to the 17th fret on an instrument in A. Examples of lute music in octave transposing clefs are too many to cite here. I too thought of mandolin music, but the tuning wouldn't seem to fit. As becomes clear from many chords of up to five notes, the best tuning would be a mandora in E, especially since sonata IV requires a third and sixth course "in effetto maggiore", which means F sharp, judged by the music. A lute tuning in E would already have that F sharp. Maybe Anthony has a discussion of the possible instrumentation somewhere? as the lute sound was understood mainly as a 16'-register in the 18th century, it is maybe not that much of a problem. Which 18th century source does state this explicitly? None. That's my conclusion based on the surviving evidence. Regards Stephan Am 13.04.2014, 23:09 Uhr, schrieb R. Mattes : On Sun, 13 Apr 2014 22:16:16 +0200, Stephan Olbertz wrote Dear Christopher, I was a bit hasty, I'm afraid, and didn't look closely enough to Anthony's sample, assuming it was all simple octaving basses. I purchased a pdf and found several instances where indeed the lute bass has a different, lower note than the violoncello. Only commenting the sample page: nowhere does the "liuto"-Bass play below the notated bass voice. Unless you follow the theory that the "liuto" voice is notated an ovtave higher than intended. But why would one notate in the highest available key while much better fitting clefs where widely in use (the combination F bass clef and C soprano clef, pretty much the standard combination for keyboard music for quite some time in the 18th century, works extremly well for lute music). And let's not forget the possibility of an archiliuto tuned in A. That would put the highest note of the minué on the 11th fret. Not too different from the demands of late german lute music. My first impression was actually: this looks and sound like music for mandolin or some similar (plectrum played) instrument ... Now, as Daniel remarked, this actually seems strange. But on the other hand, as the lute sound was understood mainly as a 16'-register in the 18th century, it is maybe not that much of a problem. Which 18th century source does state this explicitly? Cheers, Ralf Mattes -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute sonatas of Antonino Reggio
Dear Christopher, I was a bit hasty, I'm afraid, and didn't look closely enough to Anthony's sample, assuming it was all simple octaving basses. I purchased a pdf and found several instances where indeed the lute bass has a different, lower note than the violoncello. Now, as Daniel remarked, this actually seems strange. But on the other hand, as the lute sound was understood mainly as a 16'-register in the 18th century, it is maybe not that much of a problem. Best wishes Stephan Am 13.04.2014, 21:01 Uhr, schrieb Christopher Wilke : Stephan, Continuo playing, yes, on occasion. The evidence is quite clear about that. Are there any specific passages in lute trios you might be able to point out that place notes in the lute part below the written bass? I haven't really examined the concerted lute music in much depth. (I assume you're talking about notes below the bass other than simple octave transposition, which was standard practice.) Chris[1] Sent from Yahoo Mail for iPad __________ From: Stephan Olbertz ; To: 'lute' ; Subject: [LUTE] Re: Lute sonatas of Antonino Reggio Sent: Sat, Apr 12, 2014 5:54:08 PM Am 12.04.2014, 17:23 Uhr, schrieb Daniel F. Heiman <[2]heiman.dan...@juno.com>: > However, that puts many of the bass notes of > the lute below the B.c. part, which seems a bit strange. This was common practice in lute trios and continuo playing. Best Stephan > > Any additional information available? > > Regards, > > Daniel Heiman > > -Original Message- > From: [3]lute-...@cs.dartmouth.edu [mailto:[4]lute-...@cs.dartmouth.edu] On Behalf > Of Anthony Hart > Sent: 12 April, 2014 06:03 > To: lute > Subject: [LUTE] Lute sonatas of Antonino Reggio > >The lute sonatas of Antonino Reggio have now been published. Please >visit [1]www.edizionear.com/lute.html > >Anthony Hart > >-- > > References > >1. [5]http://www.edizionear.com/lute.html > > > To get on or off this list see list information at > [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > -- Viele Gruesse Best regards Stephan Olbertz -- References 1. https://overview.mail.yahoo.com/?.src=iOS 2. javascript:return 3. javascript:return 4. javascript:return 5. http://www.edizionear.com/lute.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Lute sonatas of Antonino Reggio
Am 12.04.2014, 17:23 Uhr, schrieb Daniel F. Heiman : However, that puts many of the bass notes of the lute below the B.c. part, which seems a bit strange. This was common practice in lute trios and continuo playing. Best Stephan Any additional information available? Regards, Daniel Heiman -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Anthony Hart Sent: 12 April, 2014 06:03 To: lute Subject: [LUTE] Lute sonatas of Antonino Reggio The lute sonatas of Antonino Reggio have now been published. Please visit [1]www.edizionear.com/lute.html Anthony Hart -- References 1. http://www.edizionear.com/lute.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Say love and Queen Elizabeth
te-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Ron Andrico Sent: 24 January 2014 13:09 To: R. Mattes; Stewart McCoy; lute@cs.dartmouth.edu Subject: [LUTE] Re: Say love and Queen Elizabeth Dear Ralf: Perhaps one is a bit hasty to pass judgement from afar on the sharpness of another person's tools without seeing the larger context of the work. I observe here and on other comment forums that it is easy to throw a good idea off-track by distracting with humorous associations. In the end, we learn fascinating historical connections through a perceptive eye, a discerning ear, and a complete immersion into the subject matter and it's context. I suppose one can find echoes of the cuckoo clock in nearly any musical phrase. Best, RA > Date: Fri, 24 Jan 2014 00:01:41 +0100 > To: lu...@tiscali.co.uk; lute@cs.dartmouth.edu > From: r...@mh-freiburg.de > Subject: [LUTE] Re: Say love and Queen Elizabeth SNIP > Oh dear, that's what happens if you use the wrong tool to analyze. > I wouldn't call five stepwise notes downward an "melody". Otherwise > you might claim that Dowland quotes the end of "La Spagna". > Cheers, Ralf Mattes -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Bream Collection... I just noticed
I heard he made himself ten years younger early in his career, so it must have been impressive for a man in his nineties or even older... Am 16.12.2013, 22:27 Uhr, schrieb Paul Overell : In message <57-52ae0970.3010...@tobiah.org>, Tobiah writes On 12/15/2013 10:52 AM, Chris Barker wrote: I wonder too about other recent comments that suggest that he may have played in public longer into his years than he had ought. Not at all ... I saw Segovia play on three occasions, the last time at the Fairfield Halls, Croyden, UK. He was very old. Walked on stage very slowly, his guitar brought to him once he had sat down - all to a standing ovation. No doubt his playing was past well its best - but it didn't matter one jot - we were watching, listening to a living legend. It was magnificent, an experience I will never forget. Regards -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bream Collection... I just noticed
On Mon, Dec 9, 2013 at 7:31 AM, Martin Shepherd <[1][1]mar...@luteshop.co.uk> wrote: Dear Ernesto, Apologies - I copied this to the list as well, I hope you don't mind. I agree that the most important thing is for music to be "interesting and captivating". Never mind Karajan, much of the playing of modern lute players could be regarded as boring, too. But we *do* care about "academic explanations" - in other words, historical perspectives - otherwise we wouldn't be playing lutes at all. I think most of us play the lute because we are really interested in the music which survives from the past and we also believe that to understand this music and present it in the best possible way we need to study how lutes were made, which ornaments were played, etc, etc. Whether or not what we do, as a result of all this research, is convincing to a modern audience is always doubtful. If we don't care about this historical research, why play the lute at all? The electric guitar, in all its myriad forms, is the plucked instrument of today, and it works very well indeed. Better than a single-strung archlute with overspun nylon strings, anyway. Best wishes, Martin On 09/12/2013 02:44, [2][2]erne...@aquila.mus.br wrote: I totally agree, but some music is simply boring, even if well recorded, marketed, etc. - take Karajan, or whatever. Maybe in a few years we will hear Karajan and say it is really jazzy, hip, subtle and interesting - but for the time being it is rather boring. Who cares about academic explanations for the way you play, it has got to be interesting and captivating in the first place. And may I beg your pardon, but many of our romantic heroes' music does not sound interesting to me. Ernesto Ett 11-99 242120 4 11-28376692 Em 07.12.2013, `as 08:42, Martin Shepherd <[3][3]mar...@luteshop.co.uk> escreveu: Hi All, I am a bit dismayed by a modern orthodoxy about lutes and lute music which is so dismissive of things which stand outside that orthodoxy. Whether or not you like Bream's lutes or his playing, he was the first to show that it *could* be done. But the main thing which troubles me is that the basis of this current orthodoxy is so shaky. Modern lutemakers base their instruments on just a few museum specimens which are not necessarily representative of the multiplicity of lutes of the past, and while we now make lutes which are much closer to historical instruments than those of 20 or 30 years ago, we still don't understand how strings were made in the past and still can't reproduce them. Despite much research, modern players have to guess at the nature of musical phrasing and mostly ignore the very important dimension of ornamentation, either playing no ornaments at all or taking an "anything goes" approach. We also mostly ignore the fact that 17th and 18th century lute players played very close to the bridge with their fingers plucking almost at right angles to the strings. This has far-reaching implications - playing more or less thumb-inside and over the rose, modern players need quite high string tensions, probably much higher than were used in the past. We may like what the best players do now, but it is foolish to think that it is historically plausible, let alone "correct". Martin --- This email is free from viruses and malware because avast! Antivirus protection is active. [4][4]http://www.avast.com To get on or off this list see list information at [5][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- This email is free from viruses and malware because avast! Antivirus protection is active. [6][6]http://www.avast.com -- References 1. mailto:[7]mar...@luteshop.co.uk 2. mailto:[8]erne...@aquila.mus.br 3. mailto:[9]mar...@luteshop.co.uk 4. [10]http://www.avast.com/ 5. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. [12]http://www.avast.com/ -- References 1. mailto:mar...@luteshop.co.uk 2. mailto:erne...@aquila.mus.br 3. mailto:mar...@luteshop.co.uk 4. http://www.avast.com/ 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.avast.com/ 7. mailto:mar...@luteshop.co.uk 8. mailto:erne...@aquila.mus.br 9. mailto:mar...@luteshop.co.uk 10. http://www.avast.com/ 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 12. http://www.avast.com/ -- Viele Grüße Best regards Stephan Olbertz
[LUTE] OT Looking for supporters
Dear all, first, please excuse the off-topic. Two young students of mine are joining in a small commercial band contest and hope to win a professional recording session with their band project "Sweet Sounds". We need a few more votes until oct. 31 to win. So if you have a minute or two for visiting the contest's site and vote for the girls (if you like their self-composed song), that would be great: http://www.clairefontaine-rocks.de Click "Sweet Sounds" and then "Melde dich an, um deine Stimme abzugeben" to sign-in via Facebook (or to register conventionally). Many thanks and best regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Banks trios
Already got an offer, thanks! Stephan Am 30.08.2013, 21:53 Uhr, schrieb Stephan Olbertz : Dear all, for a paper I would like to look into the foreword of John Banks' lute trio edition (lute society), I think the first one will do. Would anyone be willing to send me a scan? Regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Banks trios
Dear all, for a paper I would like to look into the foreword of John Banks' lute trio edition (lute society), I think the first one will do. Would anyone be willing to send me a scan? Regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Markus Passion by Bach
Dear Martyn, I know that there is no evidence, that's why I wrote "possibly" :-) We all heard Bach being played on the most astonishing instruments, with often good results. I think a gallichone is a rather close guess for Bach continuo... Best regards Stephan Am 18.07.2013, 10:02 Uhr, schrieb Martyn Hodgson : There is no evidence that Bach had the gallichon/mandora in mind for this. The names were very well known at the time for specific instruments and widely used to distinguish them from the (Dm) lute proper. Any use of the gallichon/mandora in this context is a modern invention - presumably to overcome perceived technical difficulties. But if we look at the extant Bach 'lute' works, there are many similar (if not more severe) comparable technical hurdles yet this has not led to these to being identified as gallichon/mandora works. MH ____________ From: Stephan Olbertz To: lute List Sent: Wednesday, 17 July 2013, 19:13 Subject: [LUTE] Re: Markus Passion by Bach Dear Jörg, the MP is a reconstruction after the Trauerode, the lute parts of which are possibly for Gallichones (in B?). Viele Grüße Stephan Am 17.07.2013, 15:43 Uhr, schrieb Hilbert Jörg : Dear all, I was invited to play the continuo part of some arias of Bachs Markus-Passion. Two lutes are requested, but that’s all of the information I have got. Does anybody know witch is the right lute type to choose? Seams to be E or D keys the most time, so I would preferably go for theorbo in A … but maybe Bach intension was more a gallicon. Any other experiences or things one should know about this fragment? Thanks for any help, Jörg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Markus Passion by Bach
Dear Jörg, the MP is a reconstruction after the Trauerode, the lute parts of which are possibly for Gallichones (in B?). Viele Grüße Stephan Am 17.07.2013, 15:43 Uhr, schrieb Hilbert Jörg : Dear all, I was invited to play the continuo part of some arias of Bachs Markus-Passion. Two lutes are requested, but that’s all of the information I have got. Does anybody know witch is the right lute type to choose? Seams to be E or D keys the most time, so I would preferably go for theorbo in A … but maybe Bach intension was more a gallicon. Any other experiences or things one should know about this fragment? Thanks for any help, Jörg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Kohlhase-notation
Dear Arthur, ah, yes, Schrade! Somehow I had the idea that he notated in only one stave. Kohlhase doesn`t mention him as far as I see. I think I heard it beeing called "musicological notation" because it was invented and is mostly used by musicologists (at least for performance), and to avoid the evil "keyboard notation". By the way, I think we don`t have such an elegant term like "grand staff" in German. Thanks and best regards Stephan Am 12.05.2013, 20:59 Uhr, schrieb Arthur Ness : - Original Message ----- From: "Arthur Ness" To: "Stephan Olbertz" Cc: "Lute List" ; "Baroque Lute List" Sent: Sunday, May 12, 2013 2:41 PM Subject: [BAROQUE-LUTE] Re: Kohlhase-notation Dear Stephan, I wouldn't necessarily call the Kohlhase notation musicological, since it is simply a way of notating lute music on a continuous staff, rather than one with the conventional break between the hands for keyboard, marimba and harp music. Often erroneously called "keyboard" notation when used for lute music, this designation can result in misunderstanding about the nature and use of transcriptions of tablature into pitch notation. And no one calls notation for marimba and harp, "keyboard" notation. Why should lute music in pitch notationm be called "keyboard"? It's a misnomer coined by guitarist. Preferable is the conventional term "grand staff" notation. Too frequently the term "keyboard" lute notation suggests to the uninitiated that the music has been arranged (adapted) for a keyboard instrument, e.g., a Boesendorfer, whereas the grand staff has long been the standard pitch notation for lute. And some pioneer 20th century lutenists seemed to have played only from pitch notation, e.g., Gerwig. Two world-touring lutenists told me that , when working up a piece for a recital or CD, they always consult a transcription, or if none is available, make their own. In recent years Thomas Kohlhase seems to be the earliest to use the continuous staff, with an imaginary line for middle C. That is, 5 (bass clef) lines +5 (treble clef) +1 (middle C with ledgerlines) = eleven lines and ten spaces:: g __ c ____ __ __ ___ F __ The reasoning behind this staff layout is that regular grand staff for keyboard separates the left and right hands, whereas with lute there is no separation, and the continuous clef better reflects the shape of the music. A leap of a ninth, F to G looks the same as a ninth, e to ff. I long thought our Doug Smith was the first to use the continuous clef, using it for examples in an article on Weiss in Early Music (1980) and then in his Weiss edition (1983 ff.), but Kohlhase was earlier in the New Bach Edition (1977, rev.1982), and[perhaps still earlier in his dissertation on Bach's lute music of 1972. But still earlier Schrade used the continuous staff in his edition of the works of Luis Milan (1928). But his bizarre edition is so unique it deserves a separate name, Schrade Method. - Original Message - From: "Stephan Olbertz" <[1]stephan.olbe...@web.de> To: "Baroque lute Dmth" <[2]baroque-l...@cs.dartmouth.edu> Sent: Saturday, May 11, 2013 11:20 AM Subject: [BAROQUE-LUTE] Kohlhase-notation > Dear all, > > do we have an earlier source for the so-called "musicological notation" of > lute music (with a space of one ledger line between the staves) than > Kohlhase's NBA-edition? From his foreword it seems that he invented it. > > Best regards > > Stephan > > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:stephan.olbe...@web.de 2. mailto:baroque-l...@cs.dartmouth.edu 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Kohlhase-notation
Dear all, do we have an earlier source for the so-called "musicological notation" of lute music (with a space of one ledger line between the staves) than Kohlhase's NBA-edition? From his foreword it seems that he invented it. Best regards Stephan 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 - The elephant in the room
f. >> >>When you look at old pictures showing gut being used to string a >lute, >>or the loose ends of gut hanging from a pegbox, it's clear that it >was >>much softer stuff than the wire-like gut we have today. For a >start it >>came in hanks. Try tying modern gut in a hank and it would look >like >>crap when you unravel it - kinked, cracked, opaque . . . I have >no >>knowledge of the differences between the manufacturing process for >>modern gut and that used long ago, but it must have been quite >>different. >> >>What difference would stiffness make? One possible difference is >>inharmonicity - the tendency of harmonics to be sharper in stiffer >>strings. This is something that piano tuners have to allow for >>routinely - because of the stiff wire strings. That's just a >guess, >>though, and we won't know for sure until somebody makes old-style >soft >>gut and performs a comparison. I'd have thought this would be a >fairly >>straightforward thing for gut makers to do. Maybe somebody has >already >>done it? >> >>Bill >> >>-- >> >> >> To get on or off this list see list information at >> [1][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > >-- > > References > >1. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. http://gamutmusic.squarespace.com/making-gut-stings/ 2. mailto:dwinh...@lmi.net 3. mailto:willsam...@yahoo.co.uk 4. mailto:lute@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Lute bass strings - was Re: Are Pistoys prone to rot according to Mace?
How about Zedler? The 64 volumes were published between 1732 and 1754, vol. 33 describing interesting things on the topic of "saite", like the process of manufacturing, different colours and materials. No loading, I'm afraid, but overspuns, though they seem to serve as a kind of jewelery thread... http://mdz10.bib-bvb.de/~zedler/zedler2007/index.html Anyway, I seem to remember Tim Crawford citing in Bremen recently an article in an encyclopedia for ladies, explaning a lute to be strung with gut strings overspun with silver (Leipzig? first half of 18th cent.?). Regards Stephan Am 29.11.2012, 16:10 Uhr, schrieb R. Mattes : On Thu, 29 Nov 2012 12:04:48 +0100, Markus Lutz wrote Hi Shaun, Hi Martyn, unfortunately I cannot say too much on this topic, at least for the 17th century. [...] Another important source, though late, on all topics of life is Krünitz, Oeconomische Encyclopädie. Probably it also depends on the encyclopedy of Diderot and on other encyclopedys, for sure at least some things will have been copied. It has 242 volumes and describes many things very detailed. He has big articles on the lute and on strings Krünitz, Artikel Laute (lute, vol. 66, p. 380ff, 1795) But this is rather late as a source for information on 17th century lute practice (or even for the first half of the 18th century). There have been two changes in lute building during that time: first, the extension of the bass range by adding a second pegbox (swank neck lutes) and then the change to bass rider style lutes during the 18th century (the later could well be a in response to a wider availability of overspun bass strings). [...] Artikel Saiten (strings, Vol. 130, p. 1822) Man färbt die Saiten auch blau und roth; blau, indem man sie durch eine kalte Brühe von Lackmus mit Potasche, roth, indem man sie durch den Auszug der türkischen Schminklappen und Potasche durchzieht. Sowohl die gefärbten, als die weißen Saiten werden nachher geschleimt, weil der Schleim den Ton stumpf macht. Die blaugefärbten Saiten nehmen im Schwefeln eine rothe Farbe an. (Here he describes in detail how strings are made, the short part tells how the strings had been colored blue with litmus and potash, and red with turkish paint cloth (?Schminklappen?) and potash). "Schminklappen" are coloured/dyed pieces of cloth that were used to give to give the skin a redish teint. The cloth (or paper -> "Schmikpaier") was made wet (humid) and rubbed over the face. Turkish might give a hint at the colour used: probaly turkish "Krapplack" (Rubia tinctorum, eng. dyer's madder), a widely used colour until the 19th century. Krünitz is very late, but he sums up everything from the 16th to the 18th century. In his article on the lute he mentions beside others Besard, Baron, Weiss etc. Yes, so utterly unuseable as a source for when things fist show up ;-) Cheers, Ralf Mattes -- R. Mattes - Hochschule fuer Musik Freiburg r...@inm.mh-freiburg.de To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Are Pistoys prone to rot according to Mace?
a single string and comparing   it    with the size of the whole instrument should make one to realize    something here, right?    I do not have an information on the early lutes in this regard,   but    early - baroque - bowed instruments as well as some later   violins,    especially those built and used in bad climes, had the inner   wood    surfaces treated with the mixture of hide glue and linseed oil.    (There were actually some arguing this might have improved the    instrument sound - to some tastes, that is, just off the top of   my    head - look up Frederick Castle's "Violin tone peculiarities"). Some    other varnishes on the inner wood surface were observed as well.   I    have seen them on museum instruments. And some varnishes   penetrated   the wood deeply enough to create more wood stability. Think   Cremona    here.    Protecting the inner wood surface of the lute would do much more   to    stabilize its' tuning in the case of rapid weather changes. But this    will never happen, i would hazard to guess. Chasing a perfect string    - there is the solution, of course.    alexander r.    On Sat, 06 Oct 2012 12:17:41 +1000    Mark Probert <[2][2][6]probe...@gmail.com> wrote: My $0.02, living in Sydney Australia, is that nylgut mitigates    some of he effect of fairly extreme weather changes. We can have a    thunder storm roll in and have the temperature drop by 10+C in the space    of as many minutes. Gut just gives up in those circumstances. Part B of this is the effect of the weather on the wood of the instrument. One of my lutes is more stable than the other in the pegbox department. When we are in a changing time, I am forced    not to play this instrument for days at a time (I really don't enjoy the    tune, tune, tune aspect). Then, isn't there the old adage of lute players spending half    their time tuning and the other half playing out of tune? This is not a    new problem, though I do believe that synthetics help. Kind regards -- mark. To get on or off this list see list information at [3][3][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html   --   Sam Chapman   Oetlingerstrasse 65   4057 Basel   (0041) 79 530 39 91   -- References   1. mailto:[4][8]voka...@verizon.net   2. mailto:[5][9]probe...@gmail.com   3. [6][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[11]voka...@verizon.net 2. mailto:[12]probe...@gmail.com 3. [13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. mailto:[14]voka...@verizon.net 5. mailto:[15]probe...@gmail.com 6. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html   -- References   1. mailto:manchap...@gmail.com   2. mailto:voka...@verizon.net   3. mailto:probe...@gmail.com   4. mailto:lute@cs.dartmouth.edu   5. mailto:voka...@verizon.net   6. mailto:probe...@gmail.com   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html   8. mailto:voka...@verizon.net   9. mailto:probe...@gmail.com  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html  11. mailto:voka...@verizon.net  12. mailto:probe...@gmail.com  13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html  14. mailto:voka...@verizon.net  15. mailto:probe...@gmail.com  16. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html     -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Reconstructing Dowland; deconstructing Dowland
Dear all, just to add my two pence, I want to share with you two of the 21 duet settings of Dowland's music I arranged about six years ago. They will eventually (finally) be published next year, together with some other things that might interest you :-) Without going too much into the discussion, I, like others, think that we have most authoritative sources with the song books and the Lachrimae publication, which are open for our more or less informed creativity. There are other instances where one might to try out some things, and it has been done quite often before, I think: fragmentary ensemble pieces, otherwise hard to play "intabulated" solos, freaky divisions, no divisions at all, sketchy pieces, accompaniment to existing solos, you name it. Most interesting is the process itself, seeing for example what Dowland changed in his lute parts compared against the pitch-notated parts and re- or deconstructing this technique for your own purpose. Maybe other people like the result, too, and that is of course great. There have been most successful attempts to reconstruct ensemble music recently by Stewart McCoy, Ray Nurse, on stage by ensembles like Pantagruel and others, and I hope there will be many more. So here's the link: http://www.mediafire.com/view/?7ww362jo9ladi7d (can look messy in the preview, but downloads nicely) Regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Image editing/enhancing software for pdfs
You can have that with TIFF-files... Regards Stephan Am 22.10.2012, 12:51 Uhr, schrieb Martyn Hodgson : Thanks, But won't I then have to import each jpg image individually? As said I can do this already. The advantage as a pdf was that I thought I'd be able to import the whole set of images (around 300) in one operation. regards Martyn --- On Mon, 22/10/12, Albert Reyerman wrote: From: Albert Reyerman Subject: [LUTE] Re: Image editing/enhancing software for pdfs To: "David van Ooijen" Cc: "Lute Dmth" Date: Monday, 22 October, 2012, 11:16 Do not try to import a pdf file, convert the pdf into jpg first, thenopen as jpg. Search the web for free software,. there are many programs available. Regards Albert TREE EDITION Albert Reyerman Finkenberg 89 23558 Luebeck Germany [1]albertreyer...@kabelmail.de www.Tree-Edition.com ++49(0)451 899 78 48 More Music Books at [2]http://tree-edition.magix.net/public/ Am 22.10.2012 12:05, schrieb David van Ooijen: > I use Gimp. Bit of a learning curve, but very powerful. > > David > > On 22 October 2012 11:43, Martyn Hodgson <[3]hodgsonmar...@yahoo.co.uk> wrote: >> >> I sometimes use Picasa to improve the readability of vague/low contrast >> images (adjusting 'shadow' and highlight' etc) and this can work very >> succesfully on jpgs. However I tried importing the recently available >> BN guitar tablature N25008 as a pdf into Picasa and it wont have it >> - after searching I see that Picasa doesn't 'support' pdfs.. >> >> So I seem to have no recourse but to do individual 'screen shots' to >> save images (from jpg or the pdf) to Picasa for editing. But this is >> very laborious and time consuming and I can't belive there isn't some >> similar (FREE!) image editing software which can be used with pdfs - >> can anybody suggest something like Picasa but into which one can import >> a pdf file and then edit the image? >> >> MH >> >> -- >> >> >> To get on or off this list see list information at >> [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- References 1. http://us.mc817.mail.yahoo.com/mc/compose?to=albertreyer...@kabelmail.de 2. http://tree-edition.magix.net/public/ 3. http://us.mc817.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Re: Best Body Frets?
Bone is also nice. Regards Stephan Am 26.09.2012, 01:37 Uhr, schrieb Dan Winheld : A question tossed onto the waves of this Ocean of Lute Wisdom- Any consensus regarding the best material for body frets? My woodies often sound a little too "woody"- they are some light colored wood, no idea what species; and lately I've been knocking them off the soundboard. So instead of just regluing them, I wonder if other materials might sound better (but still be easily glued, preferably with white glue?) I can think of ebony, maybe other legal/available tropical or other hardwoods, other materials? Ivory-like materials, celluloid, etc? And a format that's easy for the workshop-challenged non-luthier to deal with. (non-tapered toothpicks, half-round or something of that nature.) Thanks, all. Dan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Viele Grüße Best regards Stephan Olbertz
[LUTE] Rare Weiss engraving for sale
I own a copy of the well-known engraving of Silvius Leopold Weiss (with the subtitle "Es soll nur Silvius die Laute spielen"). It's engraved 1765 by Folin after a painting by Denner and measures ca. 10 x 15 cm. You all have seen it more than once, as it is the only surviving picture of Weiss. I don't know how many copies survived, but it can't be much. The copy is in a very good condition, except what seems to be the traces of some small sparks. This is definitely a rare and beautiful piece of lute history. I'm looking forward to your offers, If you are interested, please contact me off-list. -- Viele Grüße Best regards Stephan Olbertz To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute trio - piano trio
Dear all, it has been argued, that the lute trio (with violin/flute and bass) could have had a certain influence on the development of the piano trio. Does anyone know of an article on this subject? I could only find a statement by Tim Crawford in a liner note... Regards, Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [LUTE] Re: Bach’s Lute Suites: This Myth is Busted
Exactly. BTW, a recent (2009) must-read on the topic is David Ledbetters "Unaccompanied Bach" (Yale University Press), which includes studies on the violin, cello and lute/Lautenwerk works. Regards Stephan Am 26.04.2012, 21:06 Uhr, schrieb Jarosław Lipski : Discussion is always a good thing, the problem begins when someone makes very definite statements like- the evidence would be that Bach did not write any music specifically intended for solo lute - or -You know what I am going to say next–perhaps you should sit down I understand that it was addressed to guitar players, but still we need more evidence before trying to convince someone that A or B is true. Musicology is a tricky bussiness and there is a lot of speculation on lute pieces by Bach. I'd rather use some arguments from available scholarly literature than made ad hoc theories, unless the reason for this was to stir a discussion. jl Wiadomoœæ napisana przez t...@heartistrymusic.com w dniu 26 kwi 2012, o godz. 20:02: ... It's obviously a bit of popular-press fluff, not even quite "gray literature," but that stuff tends to reach much more of the general public than scholarly literature ever will. > Eugene I agree. The interesting thing to me on this topic is the response it is getting from the Lute list. Yes, you lutenists who have been at it for 20 - 30 years already know this, but I think that in all likelihood, the rest of the music world does not. An article like this on a "guitar site" (nose upturned?) will probably reach a lot more people, and therefore could be a good thing, bringing more attention to lutes from other musical disciplines. Something I have noticed in reading liner notes to CDs / LPs is that, for example, keyboard afficianodos sometimes seem to be unaware that a Bach piece was also arranged by the man himself for other instruments. The same is true for violin, etc. "Any press is good press - even bad press." I personally think that the more people write about these things, the better. And if you have pertinent info that this writer doesn't seem to have, maybe they would like to know about it? Knowledge, especially accurate knowledge, is best shared with the world. And anything done to place the word Lute in front of a wider audience is going to be good for lutes and lutenists. I'll look forward to future responses. Tom However, there is at least a fair amount of reference to primary source material (the manuscripts themselves). It's obviously a bit of popular-press fluff, not even quite "gray literature," but that stuff tends to reach much more of the general public than scholarly literature ever will. Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Stephan Olbertz Sent: Thursday, April 26, 2012 4:35 AM Cc: lute@cs.dartmouth.edu Subject: [LUTE] Re: [LUTE] Re: Re: Bach´s Lute Suites: This Myth is Busted Am 25.04.2012, 22:27 Uhr, schrieb Daniel Winheld : The article was aimed at the guitar crowd, And that's probably why the article is a bit superficial. ;-) A real contribution would need to be in scholarly style. No references here, no mentioning of newer literature (e.g. by Negwer, Dierksen, Hofmann, Ledbetter), lots of statements without evidence. Regards Stephan still clinging to illusions of lute. It's tough letting go. But he put it all together very nicely, I thought. On Apr 25, 2012, at 11:18 AM, Braig, Eugene wrote: While I enjoyed this read, I didn't see anything particularly new here. For example, Hopkinson Smith specifically named all the sources of Bach's original "lute" music in the liner notes he drafted for his recording of this music around 30 years ago. He also stated their evident non-lute provenance. I have heard Paul O'Dette unequivocally state on more than one occasion something like "Sorry, Bach did not write for the lute." Etc. I suspect that anybody who is still clinging to the notion that Bach knowingly composed lute music after having had some exposure to some reference of the source material either really, really wants to believe so to somehow legitimize the lute or is a fan of modern classical guitar who wants to somehow legitimize the perceived ancestor of his/her own instrument. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of t...@heartistrymusic.com Sent: Wednesday, April 25, 2012 11:58 AM To: lute@cs.dartmouth.edu; Luca Manassero Subject: [LUTE] [LUTE] Bach´s Lute Suites: This Myth is Busted A very interesting article. I can't wait to see the responses from the rest of the list! I am reminded that Walther Gerwig did an arrangement of Bach's Cello Suite No.1 in G major, BWV1007. Very nice and beautifully played - in Rena
[LUTE] Re: [LUTE] Re: Re: Bach’s Lute Suites: This Myth is Busted
Am 25.04.2012, 22:27 Uhr, schrieb Daniel Winheld : The article was aimed at the guitar crowd, And that's probably why the article is a bit superficial. ;-) A real contribution would need to be in scholarly style. No references here, no mentioning of newer literature (e.g. by Negwer, Dierksen, Hofmann, Ledbetter), lots of statements without evidence. Regards Stephan still clinging to illusions of lute. It's tough letting go. But he put it all together very nicely, I thought. On Apr 25, 2012, at 11:18 AM, Braig, Eugene wrote: While I enjoyed this read, I didn't see anything particularly new here. For example, Hopkinson Smith specifically named all the sources of Bach's original "lute" music in the liner notes he drafted for his recording of this music around 30 years ago. He also stated their evident non-lute provenance. I have heard Paul O'Dette unequivocally state on more than one occasion something like "Sorry, Bach did not write for the lute." Etc. I suspect that anybody who is still clinging to the notion that Bach knowingly composed lute music after having had some exposure to some reference of the source material either really, really wants to believe so to somehow legitimize the lute or is a fan of modern classical guitar who wants to somehow legitimize the perceived ancestor of his/her own instrument. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of t...@heartistrymusic.com Sent: Wednesday, April 25, 2012 11:58 AM To: lute@cs.dartmouth.edu; Luca Manassero Subject: [LUTE] [LUTE] Bach’s Lute Suites: This Myth is Busted A very interesting article. I can't wait to see the responses from the rest of the list! I am reminded that Walther Gerwig did an arrangement of Bach's Cello Suite No.1 in G major, BWV1007. Very nice and beautifully played - in Renaissance tuning! Tom -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: Vimeo: Monica Pustilnik playing Piccinini
And as for the lute players, Joachim Held taught that quite impressively in Bremen last year on the DLG meeting. Best regards Stephan Am 28.03.2012, 19:06 Uhr, schrieb Braig, Eugene : Indeed. This is accentuated with modern rest stroke, but even with free stroke, modern players strive to drive the stroke vertically towards the soundboard...that Piccinini (and I suspect many other astute pluckers) had already figured out around four centuries ago. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Miles Dempster Sent: Wednesday, March 28, 2012 10:37 AM To: Lute List Subject: [LUTE] Re: Vimeo: Monica Pustilnik playing Piccinini Modern classical guitar technique also aims to have the string vibrate vertical to the soundboard. I'll leave it to the pedagogues to explain how! Miles On 2012-03-28, at 9:05 AM, Mathias Rösel wrote: Howard, Thanks for your very informed remark. Indeed, Piccinini writes in his avertimenti about the thumb, ch. vi: "Io non approvo, che habbia l'vnga molto longa" (I don't endorse it to have a very long nail). And about the other fingers, ch. vii: "Certamente debbono havere le vngue tanto longhe che auanzino le carne e non piu" (they surely need to have nails as long as to pass the flesh, and not further). About his distinct playing technique, ch. vii: "Quando si fara una pizzicata (.) si piglierà la detta corda con la sommità della carne & vrtandola verso il fondo, si farà che l'vngna lasci sfuggire tutte due le corde". (Striking a string, one must grip the said string with the tip of the flesh and, bouncing it toward the soundboard, the nail will let escape both strings). That is a bit different, if I'm not mistaken, from modern guitar nail playing technique in that the direction of the vibration of the string is different. Vertical to the soundboard with Piccinini, parallel to the soundboard on the modern classical guitar. That makes a difference in sound, nails or not. But frankly, I haven't seen or heard players with Piccinini's technique so far. Any hints appreciated. Mathias On Mar 27, 2012, at 3:40 AM, Mathias Rösel wrote: What I was referring to is the position of her right hand close to the bridge, her playing with nails, and the initial movements of her index and middle fingers from the root joints. That's how I was taught to play the classical guitar. Piccinini's 1623 foreword specifically instructs players to use nails. Of course, he may have been influenced by modern classical guitar technique. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: Guitar temperament
This won't work with most children guitars (and their strings) I know :-) I tune in octaves in the first position, that's where they play, anyway. Regards Stephan Am 24.01.2012, 13:18 Uhr, schrieb Ron Andrico : Since I teach guitar, like many others on this list, I have developed an easy method for tempering the tuning, and an explanation to go along with it. I get an 'A' from some reliable source and tune the 5th string as a natural harmonic at the 5th fret. I match and double-check with the first string fretted at the fifth fret. I then match that same 'A' on all the other strings (second string, 10th fret, third string, 14th fret, matching harmonics, etc.). I then tune the 'G' on the first string on the third fret to match the third string harmonic at the 12th fret, second string 'D' on the third fret to match the fourth string harmonic at the 12th fret. This method seems to achieve an equal temperament on nearly any guitar with reasonably accurate fretting. It takes care of the second string problem of acting as a perfect fifth to the 'E' as an open string, and as a perfect fifth to the 'G' when fretted at the third fret. At least it seems simple to me, and my students just nod and act like they understand. RA > Date: Tue, 24 Jan 2012 11:39:51 + > To: gor...@gordongregory.co.uk > CC: lute@cs.dartmouth.edu > From: willsam...@yahoo.co.uk > Subject: [LUTE] Re: Guitar temperament > > Hi, > > I haven't read Duffin's book, but I can appreciate how people imagine > they're using equal temperament when they aren't. > > Good guitarists, despite the fact that their frets are evenly > spaced, will tweak their tuning before they start performing a piece, > to ensure than the more important chords and intervals in the piece > sound 'good'. Simply using an electronic tuner for the open strings > doesn't give you the pleasing quality that's provided by these final > adjustments. > > Lutenists have even more latitude because of the possibility of moving > the frets around - but the fact that frets are evenly spaced doesn't > mean that you are locked into equal temperament. It would > be impossible to pin a label (quarter comma, Werkmeister whatever and > so on) on the kind of temperament you get from tuning the important > intervals to sound right, but it ain't necessarily 'equal'. It's more > of a 'season to taste' sort of temperament that depends on the ear of > the performer rather than any theory of intervals. > > Interesting stuff. > > Bill > From: Gordon Gregory > To: Lute List > Sent: Tuesday, 24 January 2012, 10:49 > Subject: [LUTE] Re: Guitar temperament > Hi, > I read and enjoyed Duffin's book, particularly the discussions about > how > many 19th century tuners and performers claimed they used equal > temperament, > but actually used their own special flavours of unequal (and that > accurate > equal temperament only became common on keyboards in 1915 or so). > Where I was disappointed was his failure in my mind address the other > parts > of his title " -- ruined harmony (and why it matters)". I was hoping > for > comment and further explanation of the different characters the most > common > chords in the popular keys, e.g. why Mozart, Haydn et al used Eb and D > for > specific special effects. I felt he did not really attempt that part of > his > project. > Regards, Gordon > -Original Message- > From: [1]lute-...@cs.dartmouth.edu > [mailto:[2]lute-...@cs.dartmouth.edu] On Behalf > Of Roland Hogman > Sent: 23 January 2012 18:39 > To: Stewart McCoy > Cc: Lute Net > Subject: [LUTE] Re: Guitar temperament > Hello! > For a nice introduction to the subject: How equal temperament ruined > harmony by Ross W. Duffin ISBN 978-0-393-33420-3 (paperback) > All the best! > Roland Hogman > 2012/1/19 Stewart McCoy <[1][3]lu...@tiscali.co.uk> > Dear Dominic, > It has to be equal temperament. > The question of temperament crops up from time to time on this > list, > and > some subscribers have expressed strong views either for or against > having fretted instruments in equal temperament. Our debate echoes > the > same debate musicians had during the 16th and 17th century. > Those in favour of unequal temperament will refer to evidence such > as: > 1) 16th-century vihuela players moving the 4th fret for the sake of > pieces in flat keys, e.g. Luis Milan in 1536; > 2) Christopher Simpson's _Compendium_ in 1667 describing how some > viol > players and theorbo men had an extra first fret on their > instrument. > Those in favour of equal temperament will refer to: > 1) Galilei espousing equal temperament for lutes in 1582 with his > 18:17 > ratio for the placin
[LUTE] Gustav Leonhardt has died
on the 16th of January, aged 83. One of our heroes! -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Buzzing [was "Gut strings"]
I recently learned (thanks to Henrik Hasenfuss) that pushing the octave string a bit down at the bridge, and pulling the bass a bit up greatly changes my ability to make a well balanced or even more fundamental sound with my right hand index finger. The melody line in the Straube Sonatas, and more so in the Hasse arrangements go down there and I always wondered if the authors used a unison 6th course. Also all the bass courses gain from this set-up, less clashes for me... Best regards Stephan Am 21.11.2011, 03:30 Uhr, schrieb sterling price : From: Daniel Winheld To: howard posner Cc: Lutelist LUTELIST Sent: Sunday, November 20, 2011 7:10 PM Subject: [LUTE] Re: Buzzing [was "Gut strings"] Hi-I often practice this technique--playing only the 6th course fundamental with the index finger. Then you can have the best of both worlds. --Sterling Seriously, in Weiss I have encountered situations where the part writing is destroyed (to my ears) by the 6th course octave string going above a low lying treble line. And in some cases that 6th course note is a middle voice, making it all the more difficult to play only the fundamental and not the octave. When I need the sound of a 6th course octave, I can often refinger the note on the 7th course. Dan On Nov 20, 2011, at 4:59 PM, howard posner wrote: > Daniel Winheld wrote, rather virtuosically: > >> Howard, you of all people should know that ignorance of the law is no excuse! But I did exaggerate. 6th course unison on a Baroque lute is only an equipment violation. Officer Ed Martin of the LSAPD pulled me over a few years and issued me a fix-it ticket. I have never gotten a speeding ticket except on the Renaissance lute, where I've been known to put the pedal to the medal occasionally. Don't even mention PUI violations! >> >> It's obvious that Jakob was deliberately skirting the letter of the law & subverting the mores of polite society by having a glamorous & famous female "Octave Incubater" in his employ, a dubious practice most often connected to the decadent European elite. >> >> Or he is just an incredibly dedicated & resourceful musician. What do I know? > > More than me. I don't even recall which music Jakob thought required a unison 6th course and which required the octaves. I think the program was all French, which would explain my ignorance/lack of memory. Maybe he used the unisons for Berlioz, Gounod and Debussy. But doesn't Boulez need octaves? > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: BWV 998
I always wondered if "Prelude pour la Luth o Cembal" could simply mean that he composed a Prelude for the lute, instead of a "pars pro toto" meaning. Later he added two other movements for his (lute-)harpsichord. The first movement is clearly the best working piece. Concerning BWV 995, there is an interesting article by Ingo Negwer in one of the German lute society journals where he suggests that the g minor key in tenor clef is just a transcribing tool for his composing autograph. The notes stay on the same line or space as in c minor in bass clef, a copyist could have transposed the music easily to a minor later. (I'm describing that from memory, I hope it's correct.) Best regards Stephan -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: looking for Gastoldi scores
Karlsruher Virtueller Katalog, KVK: http://www.ubka.uni-karlsruhe.de/kvk.html Regards Stephan Am 09.09.2011, 07:12 Uhr, schrieb : What is the "Karlsruhe Connection" please? Henner "A. J. Ness" schrieb: David, There was (is) a choral library like ISMLP and it joined ISMLP just a few weeks ago. At least I recall hearing an announcement like that. It's wise to check the antiquarian dealers on the Karlsruhe Connection. The coverage is international, and frequently they'll have what you want. Usually at a reasonable price. arthur. - Original Message - From: "David van Ooijen" To: "lutelist Net" Cc: "Arthur Ness" Sent: Thursday, September 08, 2011 4:06 PM Subject: [LUTE] Re: looking for Gastoldi scores > Dear Arthur > >> The 1596 Phalèse parts are now available on ISMLP: >> http://imslp.org/ > > And I completely missed it at my earlier visit to the IMSLP. > > Once more you saved my life (it had been saved by Anton already, with > a trombone arrangement no less, which perfectly served the purpose as > it was, but the original ... who can resist?!) > > Thanks again! > > David > > > -- > *** > 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 -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: Renaissance lute & string length
Just massaging the skin between the fingers helps a great deal and is also quite healthy. Regards Stephan Am 10.08.2011, 22:42 Uhr, schrieb : Take great care with stretching exercises of the hand!! I deal fairly often with musicians' injuries, and musicians are nearly as bad as competitive athletes as far as abusing their bodies to try to get better performance. Remember that Robert Schumann permanently damaged his right hand trying to increase his performance by stretching his fingers with some contraption. Slow and easy is generally the rule of thumb for stretching. Much damage can be done by stretching too aggressively. Just a reminder trj -Original Message- From: Edward Mast To: Eugene Kurenko Cc: LuteNet list Sent: Wed, Aug 10, 2011 11:59 am Subject: [LUTE] Re: Renaissance lute & string length Thank you Bruno and both Eugenes, Paul O'Dette's comments are very interesting - I'll read the whole interview, Eugene. ( I wonder what string length P O uses on his Renaissance lutes). Yes, scale passages are not a problem with longer string lengths, I'm sure. I would expect the problems to be with fingered chords, especially barred chords. Your stretching exercises are impressive, E.K. I can't achieve that kind of stretch myself - with practice?? Certainly no problems for you in performing the Dowland, at least using single stringing. -Ned On Aug 10, 2011, at 2:03 PM, Eugene Kurenko wrote: From interview with Paul O'Dette: Q: Much lute music would seem to be played more easily on smaller instruments than today's typical G lute, yet contemporary paintings don't show a preponderance of such small instruments. People living then certainly weren't bigger than us. Did they stretch more or perhaps weren't so attached to sustaining notes or am I missing something? A: This is a very interesting question which has many different aspects. I think early players developed more stretch than we do today, by doing exercises to keep the skin in between the fingers as elastic as possible, they also used various oils to keep the skin flexible, they developed stretching techniques which involved releasing the thumb from the back of the fingerboard, and also used the left hand thumb to play some bass notes. The string spacing of most Renaissance lutes is very tight at the nut, making the lateral stretches easier than on today's wider spacing. The problem this creates, however, is that it is more difficult to keep from brushing up against other strings with left hand fingers since the courses are closer together. This would suggest three things to me: 1) That they had smaller, thinner fingers which required less clearance, 2) that they came straight down with the l.h. fingers using only the tips of the fingers and 3) They were less fussy about li! ttle noises and buzzes than we are today. I suspect that they also did not sustain bass notes to nearly the degree we do today. - Thw whole interview can be found here: http://www9.plala.or.jp/edurbrow/PODinterview.html BTW I play now on lute with 67cm. Not easy but possible even with my smal hands. But I had to stretch my fingers like this: http://pics.livejournal.com/_m_a_s_t_e_r_/pic/0009xtz8 Here is my Dowland on 67cm: http://www.youtube.com/watch?v=Y2srIsT8xuE As you can see it's not perfect but quite satisfactory. The main difficulties for me were from double courses. Especially in chords. There is no significant difference for me in playing scale passages between 60cm and 67cm. But in chords theese 7cm are very important. So I had to remove all that doubles and now play on single courses. 2011/8/10 Edward Mast The more I read about the lute during the 16th century, the more it seems to me that the norm for string length then was closer to 65 cm than the 60 cm which seems more favored and common today. Are we (myself included) - who choose the shorter mensur - wimps? If classical guitarists of all shapes and sizes can manage a 64 cm mensur, should we lutenists not be able to do likewise? Just wondering . . . -Ned To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- -- -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: tuner re's
Am 05.08.2011, 16:25 Uhr, schrieb Martin Shepherd : snip... By the way, the Korg doesn't do 1/6 comma, but Vallotti is the same for the open strings in nominal G tuning. Well, that depends on what comma you think of. If your 1/6 comma is pythagorean it's indeed the same as Vallotti for all the naturals, if the comma is syntonic, it's not. Best regards, Stephan Sorry, I've probably confused you more Martin On 05/08/2011 14:22, Garry Warber wrote: Thank you all... I only discovered electronic-tuner handiness from my grandson when he used his app on his I-phone last month. I personally do not have a cell phone, by choice. So, if I'm getting this, any 440 tuner would work by tuning every course a full step "low", then do a mind trick of telling yourself it's regular lute tuning? For example my lute would become, low to high, C, E-flat, F,B-flat, E-flat, G, C, F, which I would then convince myself it's still D, F, G, C, F, A, D, G in a=392? Wow... Perhaps just staying at a=415 is just fine... Garry -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: Vivaldi trio RV85
For 24 Euro you get them all, see below. Regards Stephan --- Weitergeleitete Nachricht --- Von: "Fabio Rizza" An: baroque-l...@cs.dartmouth.edu Kopie: Betreff: [BAROQUE-LUTE] Vivaldi - Concertos and Trios for Lute and Mandolin Datum: Sun, 12 Sep 2010 09:55:05 +0200 Dear friends, I'm pleased to announce that my edition of Vivaldi's Trios and Concertos for lute and mandolin is now available. The volume contains the following works: • Trios RV 82 and 85 • Lute Concerto RV 93 • Mandolin Concertos 425 and 532 • Concerto 540 for viola d'amore, lute and strings Its main features are: - Concerto RV 425: the ossia measures, written by Vivaldi for the mandolin part and omitted in Malipiero's edition, are here included - Concerto RV 540: the lute part includes the basso continuo staff, as in the original manuscript; the viola d'amore part includes the "tutti", as in the original ms - the separate lute parts are always available in two formats: one written at pitch, and the other one written on octave higher, as in the original manuscripts - the separate lute parts always include the basso continuo staff The volume contains a rich essay by Rossella Perrone (in Italian and in English) about Vivaldi's works for plucked instruments. http://issuu.com/emotiv/docs/vivaldidemo http://www.carisch.com/catalog/product/view/id/17780/ http://www.fondazionearcadia.org/it/0039/862-864-26/concerti_e_trii_per_liuto_e_mandolino.html Best regards, Fabio Rizza Am 14.07.2011, 12:49 Uhr, schrieb Henry Villca : Dear lute players, Hope this letter finds you in good spirit and health. I am about to perform my recital at the Royal Conservatory in the coming months. I would much appreciate if you could please help me on finding the complete score in pdf of Vivaldis trio RV85, Thank you very much!!. Warm Regards Henry Orlando V. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: bandora tunes
About the string clashing and other assorted buzzes and nasty noises - If you hit a string too hard it can buzz on the metal frets - something that lute players don't need to worry about. Well, I recently tried out double frets and have exactly that problem on the first two courses. I remembered to have heard somewhere that the buzzing eventually will stop, but it doesn't up to now. I will have to take them off, I'm afraid... Best regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Flow my tears
Am 01.05.2011, 00:04 Uhr, schrieb David Tayler : There are a number of pavans both in lute sources and in keyboard sources that have fully, richly, brilliantly ornamented A's and B's, but single C's. There are too many of these pieces to discount. But did they add, or improvise divisions for the last bit? Some of these have no repeat sign marked, but, unfortunately, repeat signs are not consistent. I think there are too many of these "plain vanilla C's" to discount. These unornamented third strains are often very densely set (a kind of a climax to the piece, like in "Semper Dowland, semper dolens"), so that divisions are really not necessary IMHO. Best regards Stephan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Capirola
Just take it to a print shop, they make cheap colour laser copies nowadays. Use thick quality paper and let them bind it - voilá Regards, Stephan Am 18.11.2010, 02:24 Uhr, schrieb Sean Smith : Full color ricercars, some of the finest motet settings on the planet, 14th century chansons, giraffes, hippogriffs, peacocks, cheetahs, monkeys, monkey riding cheetah!, bunnies, lions, unicorns AND the family dog? What's not to like? Most enchanted evenings with lute do not involve firing up the computer; this book trebly so. It's definitely worth an ink cartridge or three, Denys. thanks for the good news, Leonard! Sean On Nov 17, 2010, at 1:36 PM, Denys Stephens wrote: Dear Leonard, That's very good news! Thanks for forwarding this. They must surely have made colour photos of the manuscript - so we may at last be able to see it all in its full glory and find out how much of a part colour plays in the notation. The downside is that we probably will never now see a colour facsimile, and It would have been really nice to have seen it done to the same standard as the Verlag Pesaro copy. I wonder how many of us devote the time and ink cartridges to printing out PDF copies of lute books and creating full hard copies? In my case it's none! That's one of the reasons why the Lute Society has elected to print colour facsimilies of the English manuscripts like Dd.2.11 - viewing an on screen image is never quite the same as holding a reproduction of the original in your hands. Fortunately we can keep the cost down by not charging for any of the work apart from the things we can't do ourselves - mainly printing and postage. There would surely be scope for the lute societies around the world to work with libraries and museums to get more lute books in print. But perhaps those of us that like books are out of sync with the rest of the world, and in future everyone will want to play from their ipads? Best wishes, Denys -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Leonard Williams Sent: 16 November 2010 21:30 To: Lute List Subject: [LUTE] Capirola I recently wrote to the Newberry Library in Chicago, inquiring about the possibility of their producing a full color Capirola facsimile at any time. Here's the answer (though there is some uncertainty about the color aspect): Dear Mr. Williams, As it happens, the entire Capirola manuscript is going to be reproduced on the "Ricercar" site maintained by the Centre d'Etudes Superieures de la Renaissance, in Tours, France. Here's the URL for the section of their site that is dedicated to lute manuscripts and publications: http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/ The Capirola, as you will see, is not there yet. The photography has been done, however. I'm not sure what their time-table is, for mounting the Capirola. If you're curious to know, you could write to them directly. As you point out, it would be very expensive to produce a full color facsimile. To do that we would need a major subvention. Sincerely yours, Carla Zecher Director Center for Renaissance Studies The Newberry Library Regards, Leonard Williams /[ ] / \ | * | \_=_/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: Lute volume
Actually for most people any music is a signal to _not_ listen and start talking. :-) That's what they are used to with pop music. When I played gigs with guitar and flute, we tried to play when they were eating, that was a lot more quiet. :-) Stephan Am 17.10.2010, 08:29 Uhr, schrieb Gary Digman : As a jazz musician, I play a lot of corporate events and parties. For years I thought the crowd would get louder every time we began to play, but now I think the perception that the crowd is getting louder is a result of focus, i.e. when we begin to play we focus on sound, giving the impression that all sounds get louder including the crowd noise. That being said, I have to admit that I have attended lute concerts given by some of the leading lights of the lute world for audiences numbering in the hundreds where the lute literally could not be heard at all past the seventh or eighth row. Very frustating to pay $35-$80 for a ticket only to find out you will not be able to hear the lute no matter how focused you are. I think if we're going to play for audiences this large, some sound reinforcement may become necessary even though it is a compromise. Other instruments have had to deal with this problem. Jazz bassists amplify the double bass, even though the best and purest sound of the double bass is thereby compromised, in order to be heard. Gary - Original Message - From: "Ron Andrico" To: ; Sent: Saturday, October 16, 2010 11:29 AM Subject: [LUTE] Lute volume To All: We have a new post on our blog that may be of general lute interest, concerning volume in performance. http://mignarda.wordpress.com/2010/10/16/sound-check-is-it-loud-enough/ Best wishes, Ron & Donna www.mignarda.com -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.862 / Virus Database: 271.1.1/3199 - Release Date: 10/15/10 11:34:00 -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: duo de josquin - fuenllana
That's right, I tried to track that down years ago (didn't know this source), with no success... Best regards, Stephan Am 28.09.2010, 15:38 Uhr, schrieb Ron Andrico : Hello Wolfgang: Excellent choice of music but I'm afraid there is no surviving vocal model. See below: Kwee Him Yong, "Sixteenth-Century Printed Instrumental Arrangements of Works by Josquin des Pres, An Inventory", _Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis_, D. 22ste, Afl. 1ste (1971) page 45. "In Miguel de Fuenllana's collection of viheula music, _Orphenica lyra_ (1554/3), there is on fol. 4 a piece entitled 'Fecit potentiam.Duo de Josquin'. It is clearly here a matter of a Magnificat-fragment (in the 4th tone) for which however no vocal original is known." You might try just setting the text yourself. We can help with that. Best wishes, Ron Andrico www.mignarda.com > Date: Tue, 28 Sep 2010 14:01:47 +0200 > To: lute@cs.dartmouth.edu > From: wie-w...@gmx.de > Subject: [LUTE] duo de josquin - fuenllana > > hello, > I'm searching for the vocal source of "duo de josquin fecit potentia" by fuenllana. I know it's the 6th vers of the magnificat. I would like to perform the duo in contrast to a performance by voices or recorders at our playersday in cottbus in 2 weeks. > thanks > wolfgang > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/
[LUTE] Re: background music
Just a tip: play while they are eating, much more silence :-) Best regards, Stephan Am 16.08.2010, 20:16 Uhr, schrieb David van Ooijen : All Coming Saturday I am to play for two hours during a dinner. The request was for early-Baroque dance music, but I think that can be interpreted as anything between 1500 and 1700 of a lively nature. I'll bring a pile of music, so no fear of silence - and I can improvise music of a lively nature for hours on end - but could people with some experience in this sort of thing tell me what they usually play? Ideally I'd just put one or two books on my music stand and play through these. I'll now walk to my music shelves and see with what sort of one-stop solution I can come up with, but I'm sure some of you will be even faster. ;-) David - lively by nature -- Erstellt mit Operas revolutionärem E-Mail-Modul: http://www.opera.com/mail/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
