[LUTE]
Hi all, I am selling my Liuto Attiorbato by David van Edwards. It was built in 2001 64cm 93cm, 14 courses after Matteo Sellas 1637 (Gemeentemuseum) 17 ribs, engraved fingerboard panels as the original. A marvelous instrument! I am only selling it because I consider it a pity I don't play it often. Price should be 4000 EUR Pictures of the instrument are on David's Web-Site (with slightly different engraving as on my instrument): [1]http://www.vanedwards.co.uk/pictures.htm/49b3.jpg [2]http://www.vanedwards.co.uk/pictures.htm/49f3.jpg You can contact me at Thomas Schall Wiesentalstrasse 41 8355 Aadorf Tel.: ++41 79 664 37 85 eMail: thomas.schall (at) bluewin.ch -- References 1. file://localhost/fm07api/deref/plain?link=http%253A%252F%252Fwww.vanedwards.co.uk%252Fpictures.htm%252F49b3.jpgsign=KPo2FmOJ5KFpo2FckPSx9D11ts=1221565968334 2. file://localhost/fm07api/deref/plain?link=http%253A%252F%252Fwww.vanedwards.co.uk%252Fpictures.htm%252F49f3.jpgsign=aIOMPBXNjZ67SxlCzo2BEzts=1221565968335 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Festival Regensburg 2008
On Friday my day started with picking up the rest of the swiss lute players to j oin this year's trip to the lute festival of the german lute society which took place in Regensburg. We missed the first events due to a traffic jam which we regreted because Pietro Prosser played on a original Galichon. Knowing his playing from previous lute f estivals I was very keen on listening to his playing - and the Galichon! We also missed the lecture about the restauration of the instrument which follow ed the concert. So instead we made our first experiences with franconian foot (and beer). Afterw ards we were in best mood for the concerts of the evening. So we first heart a recital by Bart Roose (from Bruegge) who played music by Hans Newsidler on his entirely gut strung lute by Peter Van Wonterghem after Hans Frei. I tend to tell H. Newsidler's music german (with t ongue in cheek). Bart's playing was fine, smooth and calm although he has choose n some of the demanding pieces from H.Newsidler's print from 1536. This recital offered a new look at Hans Newsidler's music. The reaction of several concert li steners prooved that Bart raised interest into this repertoire. The final recital was by Lee Santana who played a mix of his own music, Dowland, Holborne and Francesco da Milano on Tenor-Lute, Cittern and Alto Lute. I liked the sound of his Alto lute by Ivo Magherini (although it was completly out of tu ne which made it hard to bear listening to Francesco's fine music). We ended the evening at a very nice restaurant in Regensburg which was built in a gothic room. The next day we started visiting the exhibition of instruments and music. I was so surprised and happy to meet Frak-Peter Dietrich and his wife who spontanous d ecided to show some of their instruments on the exhibition. Frank-Peter has buil t my very first lute and I have several of his instruments. Soon after the chat I detected Philippe Mottet-Rio who has built my new love: my new swan neck baroq ue lute. I just said Hello to Beppo Kreisel as I saw an instrument on his table which r aised my interest: A double-headed baroque lute he has copied from the instrumen t in Fuessen. It was not just me who enjoyed this instrument because Beppo recei ved a lot of orders. Mine won't be ready until end of 2009 (after the usual day to sleep on i t I decided that one cannot have enough baroque lutes)! The first lecture of the day was introduced by Albert Reyermann fromm TREE editi ons who will publish the manuscript AN62 from the episcopal library in Regensbur g. The manuscript was then verbally introduced by Francois-Pierre Goy and musica lly by Anthony Bailes. Francois-Pierre's talk was well-informed and peppered with detailed knowledge of the sources. Anthony Bailes playing made this manuscripts even more attractive (although I think he could play a scale and it would be a fascinating sound expe rience). Albert Reyermann said the manuscript (which will be published in modern transcription) would be on the easier side of the baroque repertoire. I just took a look and could not verify this information with own ex pirience (i.e. playing the music - tablature *always* looks easy). This lecture was followed by a lecture of Bart Roose and Peter Van Wonterghem ab out Hans Newsidler and the lute Bart is playing. This lecture was very interesti ng and improved the raising interest in Hans Newsidler's music and in both lectu reres. I just got this information by a friend who enthusiastically reported abo ut this lecture - as I missed it I cannot tell more details. I also missed the following lecture by Werner on Strauch about tunings and temp eraments which I already heard a while ago. Werner has profund knowledge about the tunings and how to apply them on a lute. The highlight of the events of this afternoon was the entertainment by Dr. Frank Legl and Anthony Bailes who presented a musical travel with Johann Friedrich Armand von Uffenbach. Pictures were thrown on the wall, texts by Uffenbach presented (and petulantly c ommented) by Frank. Anthony played music from Vieux gaultier to S.L. Weiss which alone would make the afternoon a success - but the combination of word, humour, pictures and music made the fun complete. The concerts of this evening were by Lynda Sayce and Claire Antonini. I was eagerly looking forward to Lynda's performance of english music of the 17t h century. And ... she topped all my high experiences! With great sensitivity, w ell structured, highly virtuous and with beautiful tone (on a lute by David van Edwards) she played a most demanding program which didn't become easier because most of the music is w ell-known. I wondered if Claire Antonini could compete with such a overhelming performance. And she could! On the same level of musicianship she performed music from the Saizenay manuscri pts. A shame on the lute world that she is not better known - I only *saw* her o n the web-site of the french lute society. A performer who is able to facinate
[LUTE] Re: Amateur recordings
I bought mine in a swiss online store for 299 swiss francs (http://shop.musix.ch/ecommerce/product_info.php/manufacturers_id/1075/produ cts_id/119531) Most likely it will be cheaper in the US Best wishes Thomas I bought mine in a german online store for 199⬠all inclusive. www.musik-produktiv.com Greetings wolfgang -Ursprüngliche Nachricht- Von: dc [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 29. Februar 2008 12:43 An: Lute Net Betreff: [LUTE] Re: Amateur recordings Martin Shepherd écrit: there are now so many of us with the Zoom H2 we should share our experiences with this machine. I'm thinking of getting one also. Where are the best buys in Europe? Thanks, Dennis To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: airs for lute in d minor tuning
Geistlich means sacred regards Thomas Dear Roland, Are you saying that Reusner's arrangements are just accompaniments? That the melody is not there? I like these pieces but don't know anything about them Please excuse my ignorance, but what does 'geistliche' mean in English? Cheers, Rob [1]www.rmguitar.info -Original Message- From: Roland Hayes [mailto:[EMAIL PROTECTED] Sent: 14 January 2008 14:45 To: damian dlugolecki; lute@cs.dartmouth.edu Subject: [LUTE] Re: airs for lute in d minor tuning Some hymns as well, e.g., Reusner's hundert geistliche melodien for voice and 11 c. No mensural notation for the voice, you're expected to know the hymn or use another source. -Original Message- From: damian dlugolecki [mailto:[EMAIL PROTECTED] Sent: Sunday, January 13, 2008 1:30 PM To: lute@cs.dartmouth.edu Subject: [LUTE] airs for lute in d minor tuning It has always seemed odd to me that the publication of airs de cour with lute accompaniment ceased with the emerging popularity of the d minor tuning. A case has already been made that the d minor tuned lute was used for continuo. And airs for various operas and ballets continued to be created. Can anyone tell me if there were songs published with the new tuning, or if not, why not? Damian -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html References 1. file://localhost/net/people/lute-arc/www.rmguitar.info 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] lute festival in Kassel
Dear all, This year's lute festival took place in Kassel in northern Hassia. The lutenists from switzerland already started their travel on Thursday and arrived well in Kassel. It just took it's time to find the Hotel. One would expect the intercity hotel near the central station but finally my memory started to work correctly and I remembered the intercity station to be somewhere else - close to the castle with the famous Herkules. The next day we started visiting the castle and the exhibition with several lute pictures. Then we needed to hurry not to miss the first recitals of the festival. The first day took playe at the university. The first of them was by Gabriel Schabor on baroque guitar playing music mainly from Santiago de Murcia. Gabriel played with great technical perfection und incorporating nice effects mainly from a mexican source found in a second hand bookstore. The second recital was one of the highlights of that first day of the festival: Ugo Nastrucci played italian (on lute) and spanish music (on vihuela) of the renaissance. The program itself didn't sound like much as it contained well-known and familiar standards. But Ugos playing is supherb with a delicate sense for voice-leading and the structure of the music. His use of colors, agogic and dynamic is terrific! Hungry we went to a restaurant nearby and enjoyed the pleasures of turkish cooking and returned back in time to listen to the evening recital which has been recorded by HR2 (the local radio station). Joachim Held played music by J.B.Hagen and S.L.Weiss (on baroque lute). His perfect playing and interpretation recieved great applause. Very bold to start a recital in d-minor (Hagen) and then playing the second piece in A-Major (Weiss)! The second part of the concert was completely in one key (Hagen B-flat Major and Weiss G-Minor). The encore was in e-flat minor - a chiaconne by S.L.Weiss - obviously slightly shortend. Due to the limitations of the public transportation in Kassel we returned to a pub near our hotel havng some beers. After a while we were joined by other visitors of the festival and it bacame a very funny and interesting ending of that first day of the festival. The next day started at noon with visiting the exhibition of instruments and editors. Now at the Murhardsche library. As always many interesting instruments were on exhibition. The instrument which interested me the most was the stundent lute by Renzo Salvador who has had two copies at the exhibition. Really marvelous instruments. Generelly the quality of the instruments by all makers is terrific. Having missed the first talk by Jo Lüdke we nearly missed the lecture of our friend Markus Lutz, too, who told us news about Johann Sigismund Weiss and his music. Being tired we decided to leave and so missed the talk by Frank Legel about Goethe and the lute (couldn't imagine there would be something interesting) and by Michel Cardin about the London manuscript. The evening recitals took place at the museum for sepulkralkultur and started with a recital by Peter Croton accompanying Theresia Bolthe. What a recital! Peter is a fine player with great sense for tone culture and the structure of the music. Starting with a Performance of a bach-Aria with has been embeded between the Prelude and the gigue of the first Cello-Suite perfect playing of the music by Dowland and Campian followed. Theresia read some poems by Rilke which perfectly matched the location (Sepulkralkultur means cult of the dead). The performance ended with a collection of Peters own works. Modern works on the lute do work and Peter's works do have the charme of combining elaborated musical structure with elements of jazz and folk music (I assume his edition is still available from the german lute society). Theresia has a great voice and - seldom heard in such a perfection - adjusted the volume of her clear soprano to fit the volume of the lute. I enjoyed how flexibl! e she interpreted the music coloring her voice depending the actual song - clear when singing Dowland changing to Folk-Style when performing Peters works. A very entertaining performance on the highest standard. The evening ended with a performance of the 17-piece Frankfurter Renaissance Ensemble with music of the hassian court (by Heugel and Moritz von Hessen), mainly for recorders, viols and singers. A lute player was there but not heard. The final day started at 9:15 in the morning - impossible for us! Although the topics sounded interesting: Michael Freimuth played a commented recital of music from the Harrach-Library and Gerd Dethlefs and Martin Junge played/talked about newly discovered lute music in the family album of Bernard Schenckinck (Münster 1561). So we arrived a little late and just listend to the final two performances: First of them was renaissance music at it's best: The Rozetta Lute Duo from hungria played lute duos from england, italy and
[LUTE] Re: O'Dette in Basel
If I should be at home at broadcast time I could tape it. If you should have further details - they would be welcome. BTW: It was very nice to meet again, although the basel lute connection. I haven't seen Eugen Dombois, but Crawford Young, Bob barto, Hoppy Smith, Peter Croton, Anthony Bailes and some others (hope i didn't forget anyone). It really was a lute fest on it's own: I have seldom seen a lute player playing very close to flawless and especially a technically demanding program with so much lightness. alone to play Piccini's Passacaglia as an encore - not the type of a typical encore. And the second encore also was unusual. ... J.N.David: the menuet from the lute suite. Sounds fine played on a lute Best wishes Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ronn McFarlane
Hi all, yesterday I have had the pleasure to listen to a performance by Ronn McFarlane performing his own works on the LSA-Festival this year. Does anybody know if these works are published and if so, where to obtain a copy? All the best Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: ISO early guitar
Hi, among the greatest instruments I know of are by Bernd Kresse: http://www.kresse-gitarren.de/repro_g.html I personally am playing a marvelous instrument by Renzo Salvador http://www.renzosalvador.be/en/guirom.html (the one at the top is mine) Heidi von Rüden has built very decent instruments - I was lucky to play (and own) some Stauffer replica as well as one of her Pages models which are on exhibition at the moment here in switzerland. http://www.gitarrenbauatelier.de/enter.htm The Pages model is something between baroque guitar and early romantic guitar and I assume one needs time to get used to it. The stauffer and early french models are very much what I like, very decent and gentle and soft. The Panormo models tend to come closer to the sound of modern Torres guitars Hope this helpd Thomas Hello all, This is not, strictly speaking, a lute question, but I know a number of list members are into this, so I thought I'd toss it out to the general population. Ignore if you hate guitars. I'm toying around with the possibility of getting a 19th century guitar. I've researched a bit, but I wonder if anyone would be interested in offering their opinions regarding the relative merits of different makers and types i.e. Panormo, La Cote, Stauffer, other? - here I'm talking about modern instruments based on the above. I'm wondering, too, if it might not be worthwhile to look into a 6-COURSE guitar to play that little-known transitional repertoire before Giuliani and Sor. Finally, can anyone recommend a site as reputable as Wayne's Lute Page for buying one of these things? Contact off-list, please (or on-list if you think it would be of interest to anyone). Chris ___ _ Low, Low, Low Rates! Check out Yahoo! Messenger's cheap PC-to-Phone call rates (http://voice.yahoo.com) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: list of great performers
Hi, I would add the Fathers of modern lute playing Walter Gerwig and Michael Schäffer. Best wishes Thomas Anthony Bailes Robert Barto Paul Beier Timothy Burris Michel Cardin Björn Colell Michael Dücker Eduardo Egüez Pierre Gross Jan Grüter Oswald Hebermehl Joachim Held Yasunori Imamura Konrad Junghänel Lutz Kirchhof Jakob Lindberg Rolf Lislevand Viggo Mangor Evangelina Mascardi Ron McFarlane José Miguel Moreno Nigel North Paul O'Dette Toyohiko Satoh Miguel Sedura John Schneiderman Karl-Ernst Schröder Hopkinson Smith Terrell Stone Stephen Stubbs Crawford Young Yerzi Zak Christian Zimmermann Andreas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The last word goes to Sting
Actually I already suggested to my Duo-Partner to start an action A tribute to Sting for lutenists and to perform hits by Police and Sting on Lute(s). I would offer to collect all contributions :) Best wishes Thomas Yesterday Sting was neither off tune nor out of tempo. RT Pheewww! What a relief. I've decided: I'll remove all my octaves, and double strings, and gut strings. I'll get an archlute and will try the pop lutenist career. Perhaps Mark and me could found a new group named The HIP Police and the repertoire will be Sting music arranged for two archlutes. RT, if you are clever we might even allow you to play the bass line on your own axe ;^))) Francesco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Liuto Forte
Hi, we discussed the Liuto Forte pretty often. take a look at the archives. In short my opinion: The instruments are well built, actually sound like a better guitar with more basses but definitly not like a lute (possibly they are better compared to a Wandervogel-Instrument). My opinion is that the idea behind these instruments is old-fashioned. It's like what the harpsichords had in the 50s:Hey the instruments sound well but SO quiet and then tried to improve the instruments resulting in something completely different. And even more dangerous is that players of these hybrid/bastard instruments call themselfes lute-players. So audiences get a wrong idea of what a lute is and old prejudices (lute is like a guitar just differently shaped) are satisfied. Thomas Have a laugh... Here is all what you're looking for: http://www.liuto-forte.com/english/index.htm Sometimes nightmares come true. Luca Bruno Correia on 28/07/2006 4.01 wrote: Does anybody knows anything about this Liuto Forte? I wrote to one of the builders and he replied: In my opinion the liuto forte sounds like a perfect lute, quite different from Julian Breams instruments. If you live in America I want to invite you for the first presentation of the Liuto forte in the United States at the Metropolitan Museum on 20th of September at 3:30 pm. Perhaps it would be interesting if someone in the area could attend this presentation, I am curious about it... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Duets
Here are the concrete files: http://www.gerbode.net/ft2/composers/Lute_ensemble/Anon/ Dear all, I'm in need of some well-known duets. Are there Fronimo files extant for Le Rossignol, Drewries Accords? Thanks in advance! Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Peter Oljelund
Hi all, does somebody have a valid email address of Peter Oljelund? His telia-address doesn't seem to work anymore. ... All the best Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Wagner and the lute
There is a piece in a private collection which is written or arranged for Mandora (see Die Laute which gives incipits of the music in the MS). Thomas On Thu, 22 Jun 2006 12:02:00 , Bernd Haegemann [EMAIL PROTECTED] wrote: But Hagen and Weiss never wrote for this instrument. Telemann is known for having used it as continuo instrument. -- Pfr. Markus Lutz Schulstr. 11 D-88422 Bad Buchau Tel.: 0 75 82 / 23 24 Fax: 0 75 82 / 92 62 90 Mail: [EMAIL PROTECTED] To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Rust/Hagen - a CD review
Hi all, I would like to introduce to you a CD with some of the latest chamber music with the lute which well fits into this (hot) time of the year. Andreas Schlegel (baroque lute) and Myrtha Indermaur (violin) are performing all of the 3 Sonatas for violin and obligate lute by F.W.Rust and two Sonatas by J.B.Hagen (c-minor and g-major). The music as well by Rust as by Hagen is very entertaining and in parts demanding for the lute player. The music needs a certain light interpretation which is not easy to archieve giving the difficulty level of the pieces. Both Myrtha as well as Andreas well got the character of the music, they are playing well together and I don't have any objections against their interpretational approach. The recording is well balanced with a good reproduction of the sound. The lute made by G.Houcken projects well and really acts as duo partner on the same (and realistic) level like the violin. The sound of the violin is smooth and clean whith subtle changes in the colors depending on the piece. Sometimes the violin laughs, then sighs, then cries. I was very impressed by how colorfull and full of emotion the instrument was played by Myrtha. The booklet is tastefully designed, the text informative although written too technically for my taste. There are also some issues I disliked (a sudden change in the sound of the CD possibly because it was recorded in a different session, some speed changes and other small issues) but they couldn't disturb the excellent impression of this performance. I am sure you all will enjoy this performance! 4.5 Stars out of 5 :-) You can obtain the CD from Andi Schlegel at a price of CHF 28.-, Euro 17,50. Just send an email to [EMAIL PROTECTED] Best wishes Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Festival in Fuessen 2006
Hi all, Wolfgang is right - St.mang was a perfect place for music and everything belonging to the festival. I haven't attended every event because some were paralell to others. For instance Beate Dittmann made an event for children and introduced the lute and Miguel gave lessons. I also enjoyed to meet some people I have known only from email-contact. It was a pleasure to meet you in person, Wolfgang! Best wishes Thomas dear list, after 6 hours of sleep at home, i enjoy to read the first impressions from fuessen. it was a wonderful weekend full of music and communication! thomas forgot to tell us about the wonderful benedictine cloister st. mang, where the festival took place. its a very large complex of baroque buildings directly above the river lech and the alpes around. the fuerstensaal where the concerts took place is an ideal place for baroque lute music. i borrowed the student lute from wolfgang früh for a lute workshop with Miguel Serdoura. the lute is easy to play and has a warm and pregnant sound. i wonder above myself, that i was able to play it without difficulties although i got the lute 10 minutes before my lesson starts (it was an idea of the night before after some bottles of good bavarian beer). thanks to wolfgang früh! and to Miguel Serdoura for his wonderful teaching! greetings wolfgang w. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Festival / painting
Dear Donatella, Yes - it's the painting on your page. Frank Legel mentioned that you discovered the painting and identified the piece earlier (so Tony Bailes and Frank Legel could have spared some work - if they knew about it). I don't want to say something wrong (Frank is scientist and *very* keen on being cited correctly). I understood they would ask questions not presenting results. There would be a saying if you knew the piece you would know who is depicted. The piece is by le vieux Gaultier but the picture is painted as he must have been dead so it seems not so easy to identify who is depicted. It surely would not be le vieux Gaultier. The lute and the depicted player also would raise questions because of the dress of the player and the type of lute which is said to be seldom in italy at that time (because all would have been bought by french players). For detailed information it would be best to contact Anthony Bailes and/or Frank Legel. Best wishes Thomas Dear Thomas, thanks for your message. Is the painting you speak about the one on my website, which was studied by Giorgio Ferraris and some other lutenists, on show in Florence? ( See also his website). I was the one who discovered the music is by Gaultier. What is strange, is that the painting is said to have been painted by Gabbiani, but this raises some questions about the music ( French, ancient, in Italy?), the instrument, the player. Can you tell us something more? Donatella To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Festival / painting
Hi Donatella, I'll forward your mail or ask Markus to forward it (if I should not find the correct eMail addresses). Vieux Gaultier is called Abbé in a ms. but we don't have evidence he had a any ecclesial function. The idea I got from the lecture is that it possibly depicts a french person travelling to italy to buy such a bolognese lute. Anyhow nothing seems clear. By the way: The title of the piece in the painting says Gigue but it resembles a Canarie. Is Gabbiani surely the painter? I seem to recall from the lecture that this is not clear yet. Best wishes Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Vallet question
Hi Ed, I just have the edition of the dutch lute society with the facsimiles. But in case you could tell me the details I could look them up and tell you if they are in the original. Anyhow - there ARE tenuto lines in the facsimile, some of which I think are rather an ideal than a real playing instruction. Best wishes Thomas Can anyone tell me if the tenuto lines in the tab in Le Secret Des Muses published by Editions du Centre National are editorial? If original, are they quite unambiguous in the original copy? TIA Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: page update
something like I see (watch?) the time passing? The title in spanish is Viendo pasar el tiempo. Perhaps some of you with a good knowledge of both the spanish and english languages can suggest a translation... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute Society of America: Cleveland L:ute Festival 2006.
you know there are rumors that the Dresden court actually just accepted Hasse to get his wife Hasse's compositions need too much elefants and bears and I think the invention of lombardic rhythmns must have impressed JAH the most. Thomas Okay, I'll bite. Why would his music antagonize him? (I don't know Hasse's music at all.) On May 15, 2006, at 10:10 AM, Roman Turovsky wrote: Or is it possible that Weiss kept his music out of wide circulation in order to not antagonize Hasse? Ed Durbrow Saitama, Japan [EMAIL PROTECTED] http://www9.plala.or.jp/edurbrow/ -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] email of Rainer aus dem Spring
Hi all, does someone of you has the actual email address of Rainer aus dem Spring? Or Hello Rainer! Are you there? Best regards Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 1733 ebay lute for a mere ...
I would tend to think it is a fake. In the late 19th century they often used more or less original labels to increase the value of their fake instruments. The instrument itself very much looks like a wandervogel instrument and as far as I can judge watching the pictures i don't see any parts which could be original. Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The happy camper with her first lute
This sickness is called LAS (Lute Aquireing Syndrom) which is widely spreaded near members of this group ... Thomas d my daughter is such a great fan of the German music of that era! . . . but on the other hand she's still just starting on her Renaissance lute; so why am I so attracted to this other instrument already? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Overtly religious ouvre?
Yes - right. But I would rather consider the Regias Pietas as solo music because the melody line indicated by the asterix often does not match the melody of the geneve psalter (if I recall right). Hoping not to tell nonsense Thomas Apart from the 2 books of psalms by Vallet (one with solo music one with songs) Both books are for voice and lute. The Regia Pietas (1620) has the places where the next syllable is to come indicated by asterixes above the tablature. David To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Overtly religious ouvre?
I thought they were (it says so in the introduction of the facsimile, anyway). Fitting the Dathenus psalm texts has never given me any trouble, either. Of course, if you prefer to play them without singing, it's fine, but Vallet has explicitely added the asterixes for sing-along performances. David Yes - that's said by the preface. The one time I had a singer to sing along to the music she complained the words/melody wouldn't fit the music. Therefore I concluded the Asterix would rather mark points of orientation for singers who would know the tune. But of course you are right. Regia Pietas is intended for singing and playing (apart from the preludes) Best wishes Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Overtly religious ouvre?
Hi! There is pretty much sacred music for the lute. as someone already mentioned Cathy Lidell's book gives a nice overview of what existed in the renaissance period - she also included ensemble settings or at least melody lines as basis for one's own ensemble settings. Apart from the 2 books of psalms by Vallet (one with solo music one with songs) and the elder Reusner's choral settings (some of them to find on my homepage http://www.cms.tslaute.de) there is a hige amount of sacred music for the vihuela which easily could be played on the lute. And very much music is spread in manuscript sources. If your interested in baroque lute music. There we would have much ranging from the rather simple settings of the younger Reusner up to very elaborated versions with variations by Falckenhagen. All the best Thomas My listening in lute music is not very broad, so I would not be at all surprised if there were many lute songs that have overtly religious/pious themes; however, I have not heard many. (I'm of course aware that Bach uses the lute in some of his Cantatas, but I'm thinking more of solo or small ensemble pieces.) How much such music is there, and can anyone recommend any works (either recordings or scores)? I suspect that there might be some pieces by or for Reformation-era Protestants, not necessarily for use in congregational worship so much as for personal devotions and enjoyment? Any leads would be appreciated. Chris Witmer Tokyo P.S. This post was stimulated by a new CD of Carolyn Sampson singing English lute songs from the time of Shakespeare. That disc includes one piece with an overtly religious theme, by an anonymous composeer. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: recording with my notebook..
Hi Wolfgang, the simplest way is to use a software like audacity (freeware) and a microphone. I personally made many recordings that way but the quality very much depends on the quality of the soundcard. In the meantime I am using a MP3/wave-recorder which allows to transfer the recorded data using the USB-port. Then you nearly don't have any loss in sound quality. We recorded some duets past weekend - I?ll try to put them online this evening. So you can check the quality. Best wishes Thomas hey all, i have bought a notebook for myself (not for my children)!!! any idea how to use it for recording via microphone and software? thanks wolfgang -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Music Therapy
It depends on who is playing :-) But seriously I never heard the lute would be used in that context. Although it could be very smoothing ... Happy new year to all of you Thomas It heals me. On Jan 3, 2006, at 5:29 AM, Charles Browne wrote: I gather that the Harp, among other instruments, is often used because of its particular properties. I wondered whether the lute would be similarly useful. Has anybody on the list experience of this? To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute sighting
My first though was it would be a mandolin but - I've seen (modern) domra which look similar. Would be too big for a mandolin I suppose? Thomas The bridge looks like possibly an ud or an uti or even a mandolin? Given it's non-triangular shape, definitely not a balalaika, and more than likely not a domra. Greg-- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] AW: lutecast
Hi, yesterday I looked at the lutecast and found the MP3 incredible large - approx. 10 MB. I Haven't listened to the music but performers like Paul Beier surely stand for an exceptional high standard of performance. Best wishes Thomas hi, just found the following news on the page of the german lute society: Worlds first free LuteCast is out in cyberspace. In October a new series of audioportraits of historical lute player/composers has been started by Werner Giovanni Bogula. What is a LuteCast? A LuteCast is a 15 to 20 minute MP3 audio feature, giving information on the live and works of the most important composers in the history of the lute. The portrait of each composer is complemented with typical music examples. The current episodes feature Francesco da Milano and Simone Molinaro. Coming casts will feature Marco Dall'Aquia, Mario Da Crema, Weiss and Dowland. Where can I find the LuteCasts? LuteCasts are posted regularly on: http://lutecast.blogspot.com. If you have an rss-reader you can also subcribe to the weekly updated feed under http://feeds.feedburner.com/TheLutecast. Call for ideas, comments and contributions If you have comments on the lutecasts or would contribute ideas or sound examples, please contact Werner G. Bogula at [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Translation of preface to El Maestro.
Hi, take a look at http://www.jarchow.com/#14-16N Best wishes Thomas Herb-- A peculiarity of that old Spanish printing is the occasional omission of m's and n's (and an accompanying vowel), with a replacement in the form of a bar above the point where they belong. If you've ever looked at old latin stuff, it's the same format. With a similar project I found a Spanish dictionary along with a Spanish-English dictionary to be helpful. Also--I found this for Italian, perhaps there is such a thing for Spanish: an extensive on-line Italian thesaurus, which helped me translate some vocab not in my dictionary to words I could find. Good luck, and have fun, Leonard Williams On 9/19/05 11:28 AM, quot;Herbert Wardquot; lt;[EMAIL PROTECTED]gt; wrote: gt; gt; Hello. Anyone know where to get a translation of the gt; text/preface/instructions in Luis Milan's quot;El Maestroquot;? gt; gt; I've tried Goog searches several times, but without gt; much sucess. gt; gt; I had three years of high school Spanish. But they gt; do not fare well against the complex and old-fashioned gt; Spanish in question. gt; gt; gt; gt; To get on or off this list see list information at gt; a target=_blank href=http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html;http://www.cs.dar tmouth.edu/~wbc/lute-admin/index.html/a
[LUTE] Re: ownership
The one cat surely as living reserve if a string unexpectedly breaks? :-) Thomas I've heard that with cats, but then it only takes one to own you. I have three (lutes that is, only one cat), two eight c. and one six, and a vihuela. Craig To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lundberg lute for sale
Dear list, I received a mail offering a lute by the late Bob Lundberg. The instrument was built in 1986 but never played due to an accident of the hand of the owner. He now decided to sell it. Price negotiable basis 6500 Euro. Pictures of the instrument can be seen on http://www.gmelin-verlag.de/Lundberg/Bilder.htm Please don't ask me about the owner or the instrument. I don't know neither of them. Rather contact the owner Gerd E.Gmelin, email:[EMAIL PROTECTED], phone number: ++49 (0)8152 90 99 762 Best wishes Thomas the original mail: ich besitze eine wunderschöne 8-chörige Renaissance-Laute von Robert Lundberg (gestorben 2001), Baujahr 1986. Das Instrument ist in makellosem Zustand, da ich es nie gespielt habe (Handverletzung in 1983). Nun muss ich es aufgrund meiner ernsten gesundheitlichen Probleme verkaufen. Der Verhandlungspreis ist 6.500,00 Euro. Ich habe damals das Instrument über meinen ehemaligen Lehrer Prof. Dieter Kirsch gekauft, der mit Bob Lundberg befreundet war. Ich hoffe, Sie können mir helfen. Danke für Ihre Bemühungen. Mit freundlichen Grüßen Ihr Gerd E. Gmelin (ehem. Mitglied Würzburger Gitarrentrio) Kontakt: 08152-9099762 Bilder vom Instrument: http://www.gmelin-verlag.de/Lundberg/Bilder.htm To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] AW: Re: V. Galilei
If I recall correctly you will find the complete Il Fronimo on the Fronimo site of Francesco Tribioli. Best wishes Thomas Ariel, My message to you was returned. What is the source? I've forgotten. Do you mean the duet(s?) by B.M. Gentleman? Sakudos, Arthur. - Original Message - From: [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Wednesday, August 17, 2005 7:29 AM Subject: [LUTE] V. Galilei Dear list, I=E2?Tm looking for a digital edition of V. Galilei=E2?Ts lute duets (all of them, if possible), in any format. I=E2?Tve got the music in printed versions, but I=E2?Tll need to edit a couple of things, and if I could avoid transcribing everything from 0 it would be great. I=E2?Td really appreciate your help. Thanks in advance. Saludos from Seville, Ariel. To get on or off this list see list information at a href=http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html;http://www.cs.dar tmouth.edu/~wbc/lute-admin/index.html/a --
