[LUTE] The lute list is retiring soon
Hi Wayne, sad to hear the lute list retires. It is not too much to say: the lute list has been quite a big part of my life so far. Over a very long period I had the pleasure to correspond about my faourite topic with very educated people from around the world. Many friendships developed. Some on and off topic discussion still remain vivid in my memory. I hope the list will continue somehow although different digital forms of communication seem to have replaced some of it's function. They will never get the special charme of this list, though. Your lute page has been my first source in the internet when searching lute related information. Thank you for all what you done to the lute world so far and enjoy your retirement! 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: F.W.Rust
There is already a very well done adaption for the lute available (by Andi Schlegel) https://lutecorner.ch/ Bst wishes Thomas Am 13.02.2019 um 18:43 schrieb Alain Veylit: eing one octave down from what one might expect. Without that transposition, none of the lute's diapasons would be used... Transposing means some tricky arpeggios for the thumb To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New CD by Lutz and Martina Kirchhof
"Chipass" is the song "chi passa per questa strada" - he who crosses the street. A popular tune as far as I know and given the number of intavolations I found in different sources. Am 24.11.2014 um 20:17 schrieb Charles Mokotoff: Yeah, I sorta agree about the LSD, nice to see another lute guy playing thumb out, too! Can someone explain...errr "Chipass" to me? On Mon, Nov 24, 2014 at 1:42 PM, Bernd Haegemann <[1]b...@symbol4.de> wrote: The (somehow futuristical looking) promo video to the CD would be here: [2]https://www.youtube.com/watch?v=bUXlKB1H8e0#t5 I don't know what is futuristic about the video, to me it looks like the good old LSD trip :- B 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:b...@symbol4.de 2. https://www.youtube.com/watch?v=bUXlKB1H8e0#t5 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall, Dörflistrasse 2, 6078 Lungern, 041 678 00 79 --- Diese E-Mail ist frei von Viren und Malware, denn der avast! Antivirus Schutz ist aktiv. http://www.avast.com
[LUTE] New CD by Lutz and Martina Kirchhof
Hi all, I just listened to Lutz and Martina Kirchhof's new CD "Chipass" and wanted to report that I am pretty enthusiastic about it. The early CDs of Lutz lack a proper lute sound IMHO. But his recent CDs capture the sound very well. Among the best lute sounds on recordings I have heard up to now. The repertoire is taken from the Königsberger Lautenbuch - mainly entertaining "Renaissance-Pop". Martina's viol compliment the lute very well. All in all a very entertaining CD with some "serious moments" - but dance tunes make the most part of the recording. Who is in need for a christmas present or want to introduce someone to the lute and its music: this would be a CD for a lighthearted entry into lute world. The (somehow futuristical looking) promo video to the CD would be here: https://www.youtube.com/watch?v=bUXlKB1H8e0#t=35 Disclaimer: Lutz and me are friends, but I have nothing to do with the CD or have any comercial interest in this CD. I just want to share my enthusiasmn. Best wishes Thomas --- Diese E-Mail ist frei von Viren und Malware, denn der avast! Antivirus Schutz ist aktiv. 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: Ornamental Lutes
looking pretty and busy doesn't sound the worst idea :-) this might impress the pretty girls in the 185th row more than the imagination of the magical sound haunting them. Thomas Am 16.03.2014 14:08, schrieb Bernd Haegemann: The "projection" topos comes to mind. Some lute players believe that - not minding the cello group, 12 trombones, electric harpsichord, double bass etc. , not to mention the rest of the Mahler orchestra - they can project their sound to some pretty girls in the 185th row ;-) B Am 16.03.2014 12:51, schrieb Edward Chrysogonus Yong: dear collective wisdom, so i was asked to play continuo for a Händel Concerto Grosso and spent some time working it out. at the first rehearsal i discover that the continuo line is also being played by 3 violoncelli, an electronic harpsichord, and a double bass all 'playing out'. all of these are modern instruments, played aggressively by players more accustomed to symphonic music. full chords on my large archlute and twiddling nonstop means i am audible to the celli and to the conductor. the tutti violins on the other side of the semicircle have said they can't really hear me, so i wonder if i'd even be heard by the audience. i'm sure other lute players have done gigs like this, so what does one do in situations where one's lute seems largely ornamental? do i just make sure i look pretty? Edward τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη. Hæ litteræ electronicæ ab iPhono missæ sunt. 此電子郵件發送于自吾iPhone。 This e-mail was sent from my iPhone. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall, Dörflistrasse 2, 6078 Lungern, 041 678 00 79 --- Diese E-Mail ist frei von Viren und Malware, denn der avast! Antivirus Schutz ist aktiv. http://www.avast.com
[LUTE] Re: a baroque lute shortage
Just as Wayne mentions it: a friend of mine is selling her instruments an 8-course Renaissance lute made by Markus Dietrich for 1200 Euros and a 13-course baroque lute by Markus Dietrich for 1900 Euros Each with hard case and in mint condition - both instrumensts just need restringing. They can be played close to Vienna (Austria) Best wishes Thomas Am 24.02.2014 22:00, schrieb Wayne Cripps: Hi - I am involved in a situation where several people are looking for used baroque lutes at the lower end of the price range. (Everyone has a Lowe or Tomlinson for sale, it seems). This seems a bit odd, as a while ago there seemed to be enough baroque lutes for sale to go around. So I guess my message is - if you have a baroque lute that you would like to move, now is the time. Wayne To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall, Dörflistrasse 2, 6078 Lungern, 041 678 00 79 --- Diese E-Mail ist frei von Viren und Malware, denn der avast! Antivirus Schutz ist aktiv. http://www.avast.com
[LUTE] Re: Chilesotti?
It's 9 PDF files: http://lautenist.de/chilesotti1.pdf http://lautenist.de/chilesotti2.pdf http://lautenist.de/chilesotti3.pdf http://lautenist.de/chilesotti4.pdf http://lautenist.de/chilesotti5.pdf http://lautenist.de/chilesotti6.pdf http://lautenist.de/chilesotti7.pdf http://lautenist.de/chilesotti8.pdf http://lautenist.de/chilesotti9.pdf Am 17.12.2013 17:50, schrieb Alain Veylit: Thomas Schall kindly provided his own intabulations of the Chilesotti pieces in three PDF volumes -- See: * [1]http://lute.musickshandmade.com/collections/view/105 * [2]http://lute.musickshandmade.com/collections/view/104 * [3]http://lute.musickshandmade.com/collections/view/103 Alain On 12/17/2013 06:13 AM, G. Crona wrote: Yes they have, you'll find them here: [1][4]http://www.mclasen.com/lute/lyre/Chilesott1.html - Original Message - From: [2]William Samson To: [3]G. Crona Sent: Tuesday, December 17, 2013 3:07 PM Subject: Re: Chilesotti? Does anyone know if the Chilesotti pieces have been published in lute tablature? Bill [4]Sent from Yahoo Mail on Android __ From: G. Crona [5]<[5]kalei...@gmail.com>; To: Lutelist [6]<[6]lute@cs.dartmouth.edu>; Subject: [LUTE] Re: Segovia and Pujol (was Bream Collection.) and now what? Sent: Tue, Dec 17, 2013 1:44:49 PM And not only had he good taste in music, but he also gave a lot of information and valuable advice on the execution of the pieces, a great number of which are probably the most played on the lute today among the intermediate crowd. He in fact also recommends tuning 3rd down to F# on several of the pieces and at the end requires lute tuning on some. Still highly treasured collections which must have inspired many people to take up the lute. - Original Message - From: "Ed Durbrow" [7]<[7]edurb...@gmail.com> To: "Tobiah" [8]<[8]t...@tobiah.org>; "LuteNet list" [9]<[9]lute@cs.dartmouth.edu> Sent: Tuesday, December 17, 2013 2:17 PM Subject: [LUTE] Re: Segovia and Pujol (was Bream Collection.) and now what? > Yeah, but he had good taste in music. I had three of his books. > > On Dec 17, 2013, at 2:19 AM, Tobiah [10]<[10]t...@tobiah.org> wrote: > >> On 12/16/2013 08:55 AM, Sean Smith wrote: >>> >>> What? No love for Frederick Noad's, The Renaissance Guitar? >> >> That book and others put me off of the Renaissance because I found that >> most of the pieces, though simple enough looking, were full >> of awkward fingerings that took more effort to master then >> was worth the underlying music. Later, perusing Ness' Frank book, >> and working out the tuning, I found that I could go back to >> the Noad with the 3rd down a half-step and have a much better time >> of it. It also caused me to lament that the grand staff had not >> originally been chosen for the guitar. Someone had a fetish for >> ledger lines, I suppose. >> >> Toby >> >> >> >> To get on or off this list see list information at >> [11][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > Ed Durbrow > Saitama, Japan > [12][12]http://www.youtube.com/user/edurbrow?feature=watch > [13][13]https://soundcloud.com/ed-durbrow > [14][14]http://www9.plala.or.jp/edurbrow/ > > > > > > -- > > > > - > No virus found in this message. > Checked by AVG - [15]www.avg.com > Version: 2014.0.4259 / Virus Database: 3658/6926 - Release Date: 12/16/13 > No virus found in this message. Checked by AVG - [15]www.avg.com Version: 2014.0.4259 / Virus Database: 3658/6926 - Release Date: 12/16/13 -- References 1. [16]http://www.mclasen.com/lute/lyre/Chilesott1.html 2. [17]mailto:willsam...@yahoo.co.uk 3. [18]mailto:kalei...@gmail.com 4. [19]http://overview.mail.yahoo.com/mobile/?.src=Android 5. [20]mailto:kalei...@gmail.com 6. [21]mailto:lute@cs.dartmouth.edu 7. [22]javascript:return 8. [23]javascript:return 9. [24]javascript:return 10. [25]javascript:return 11. [26]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 12. [27]http://www.youtube.com/user/edurbrow?feature=watch 13. [28]https://soundcloud.com/ed-durbrow 14. [29]http://www9.plala.or.jp/edurbrow/ 15. [30]http://www.avg.com/ -- References 1. http://lute.musickshandmade.com/collections/view/105 2. http://lute.musickshandmade.com/collections/view/1
[LUTE] Re: Looking for Student Lute in UK...
I've heard very much good about Renatus Lechner's student lutes: http://www.renatus-lechner.de/index_en.html Renzo Salvador builds student lutes, too: http://www.renzosalvador.be/lutren.html Best wishes Thomas Am Mittwoch, 5. Oktober 2011, 10.43:57 schrieb Julian Templeman: > Dear all, > > As the subject says, I'm new to the lute, looking for a 7 or 8 course > student instrument, and have a budget of about 1200UKP. So if anyone > has, or knows of, a suitable instrument for sale, please do get in > touch. > > Many thanks, > > julian -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Bermudo -description of a Vihuela
Dear all, I doesn't have my copy of "the lute" at hand (somewhen in the late 80's?) which contains the translation of Bermudo. I wanted to add a couple of words on my vihuela-site about how Bermudo describes a properly built Vihuela. And (for obvious reasons) don't want to make it from memory ... So I would be pleased if someone would have the passage at hand. Thank you very much and all the best -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Gruyere 2011
Hi all, I just returned from the 9th early music course in Gruyere, mainly instrument building along with some concerts. The instrument building course was held by Renzo Salvador and they build a beautiful (and wonderful sounding) renaissance harp. I just attended the recitals of the weekend which has been great. The Ensemble Les Jardins de Courtoisie played renaissance songs with lute and harp - Anne Delafosse-Quentin has an angelic voice - unbelievable! I really hope they will record this programm. Pascale Boquet on lute and Angelique Mauillon on harp played the instruments. I'm really enthusiastic about their program. Today Pantagruel played their scottish program which has been broadcasted live by swiss radio. They rock! A very entertaining and musical improved performance. For those interested some fotos of the weekend (mainly of the nice surrounding of Gruyeres) can be found on http://lautenist.de/gruyeres/ -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What's the point to 'historical sound'
I'm with David Just want to add that most of the interpretations are getting "better" (the music sounds better) if we know more about the instrument, the composer, the way it could have been intended to play, but also cultural surrounding like poetry (imagine early renaissance music without Petrach's poetry!), the rooms the music was performed and the audiences. It's not necessary that today's audiences know such details but I am convinced it helps to find a interpretation. And that audiences appreciate the quality. We don't need to know all the effort Donna and Ron are putting into their interpretations to feel they are on the highest level. The "If they have had ... " is reducing because then we would never have had the subtleness and sweetness of the old instruments and the music for them. Thomas Am Dienstag, 12. Juli 2011, 16.13:21 schrieb David van Ooijen: > On 12 July 2011 04:15, wrote: > > I think that, if the old masters had possessed effects, they would have > > used them. > > .. and would have written different music which would have utilised > these effects. Which is the whole point about HIP: using the means the > old had at their disposal to create a sound that could have been in > their ears when they wre writing their music. > > David -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 thomas.sch...@bluewin.ch - -- Weitergeleitete Nachricht -- Betreff: Re: [LUTE] Re: What's the point to 'historical sound' Datum: Freitag, 15. Juli 2011, 20.20:13 Von: Thomas Schall An: Martyn Hodgson Kopie: lute@cs.dartmouth.edu, David van Ooijen which reminds me on my feelings towards Beethoven's piano sonatas. I couldn't stand them any more ... but then I've heard a concert when they were played on a Hammerklavier - so delicate! I loved it ... The same to Chopin on an old piano instead of the modern Steinways it's usually played. It's like a new world - and I like it. I'm not sure BTW that the old composers would have enjoyed modern instruments. They have had different listening habits and the modern instruments would have felt like visiting a Heavy Metal concert when used to lute music. Thomas Am Dienstag, 12. Juli 2011, 17.09:12 schrieb Martyn Hodgson: > Indeed David, and precisely the point I made which launched this round > of mails. Once we move away from considerations of historical evidence > we quickly get into the realms of mere personal assertion to fit an > individual's own preferences which may, or may not, be related to what > the Old Ones expected. > > The idea that, to take one composer at random, JS Bach would have > preferred a modern Bechstein grand is, of course, not new and this sort > of case was used from the earliest days of the revival of interest in > his music in the mid 19th century. Whether or not he would have done is > something we'll never know - what we do know reasonably well are the > sorts of keyboard instruments he would actually have come across. > > Martyn > --- On Tue, 12/7/11, David van Ooijen wrote: > > From: David van Ooijen > Subject: [LUTE] Re: What's the point to 'historical sound' > To: lute@cs.dartmouth.edu > Date: Tuesday, 12 July, 2011, 15:13 > > On 12 July 2011 04:15, <[1]t...@heartistrymusic.com> wrote: > > I think that, if the old masters had possessed effects, they would > > have used them. > .. and would have written different music which would have utilised > these effects. Which is the whole point about HIP: using the means the > old had at their disposal to create a sound that could have been in > their ears when they wre writing their music. > David > -- > *** > David van Ooijen > [2]davidvanooi...@gmail.com > www.davidvanooijen.nl > *** > 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://uk.mc263.mail.yahoo.com/mc/compose?to=t...@heartistrymusic.com > 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=davidvanooi...@gmail.com > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de - -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de --
[LUTE] Re: What's the point to 'historical sound'
which reminds me on my feelings towards Beethoven's piano sonatas. I couldn't stand them any more ... but then I've heard a concert when they were played on a Hammerklavier - so delicate! I loved it ... The same to Chopin on an old piano instead of the modern Steinways it's usually played. It's like a new world - and I like it. I'm not sure BTW that the old composers would have enjoyed modern instruments. They have had different listening habits and the modern instruments would have felt like visiting a Heavy Metal concert when used to lute music. Thomas Am Dienstag, 12. Juli 2011, 17.09:12 schrieb Martyn Hodgson: > Indeed David, and precisely the point I made which launched this round > of mails. Once we move away from considerations of historical evidence > we quickly get into the realms of mere personal assertion to fit an > individual's own preferences which may, or may not, be related to what > the Old Ones expected. > > The idea that, to take one composer at random, JS Bach would have > preferred a modern Bechstein grand is, of course, not new and this sort > of case was used from the earliest days of the revival of interest in > his music in the mid 19th century. Whether or not he would have done is > something we'll never know - what we do know reasonably well are the > sorts of keyboard instruments he would actually have come across. > > Martyn > --- On Tue, 12/7/11, David van Ooijen wrote: > > From: David van Ooijen > Subject: [LUTE] Re: What's the point to 'historical sound' > To: lute@cs.dartmouth.edu > Date: Tuesday, 12 July, 2011, 15:13 > > On 12 July 2011 04:15, <[1]t...@heartistrymusic.com> wrote: > > I think that, if the old masters had possessed effects, they would > > have used them. > .. and would have written different music which would have utilised > these effects. Which is the whole point about HIP: using the means the > old had at their disposal to create a sound that could have been in > their ears when they wre writing their music. > David > -- > *** > David van Ooijen > [2]davidvanooi...@gmail.com > www.davidvanooijen.nl > *** > 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://uk.mc263.mail.yahoo.com/mc/compose?to=t...@heartistrymusic.com > 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=davidvanooi...@gmail.com > 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de --
[LUTE] Re: Vihuela
me, too. I loved his Bach, too :-) Am Montag, 11. Juli 2011, 22.01:55 schrieb Edward Mast: > Thanks for the notice, Val. I listened and did enjoy - very much! > -Ned > > On Jul 11, 2011, at 11:00 AM, Valery Sauvage wrote: > > Oskar de Mari-Jones, on Youtube, post two new videos of vihuela : > > > > > > [1]http://www.youtube.com/watch?v=Ydwo9tHP8DM > > > > > > > > [2]http://www.youtube.com/watch?v=DCDmyu13xvU > > > > > > Enjoy ! > > > > > > Val > > > > > > > > > > -- > > > > References > > > > 1. http://www.youtube.com/watch?v=Ydwo9tHP8DM > > 2. http://www.youtube.com/watch?v=DCDmyu13xvU > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de --
[LUTE] Re: What's the point to 'historical sound'
I generally support Martyn's opinion. I think there are two approaches around at the moment. The one with a relaxed feeling towards historical evidence playing Liuto forte or Dowland on an archlute which seems to be quite popular at the moment. This one accepts the fact that we cannot recreate the historical surrounding of music performing. Neither the rooms nor the audiences with a very different intellectual background. this approach concentrates on music making, the love to the historical instruments and their sounds and try to incorporate this field into the modern music world. The other approach would be more scientific. Accepting the fact we already don't know enough about ancient times (although its pretty much). This approach would still try to experiment based on new evidences, trying new strings, new playing positions and new sources. Both positions (and all the variants in between) seem to be valid, don't they? All the best Thomas Am Samstag, 2. Juli 2011, 09.27:07 schrieb Martyn Hodgson: > Ron Andrico writes: 'This whole archlute episode brings up an > important point: At some point, we have to admit that we are not trying > to re-create an historical sound.' > > There are a number of difficulties with this view of which the > principal is that the original composer created the work with > particular sounds in mind (tho' of course this might vary so that, for > example, pieces could sometimes be rescored to better fit local > conditions). Who are we to say the composer was wrong? > > The whole thrust of 'period performance' is to try and escape from the > blinkered cavalier (self-centred) approach adopted in the early years > of the movement and to focus on trying to achieve something closer to > what the 'Old Ones' might actually have heard. Personally I'd draw the > line at castrati - but accidents can happen... > > MH > > MH > > > > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de - -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de --
[LUTE] Re: lute poems
Thank you Daniel, I already found tons of lute poems and will include those of the LSA, too. A great program by Ronn and Robert Aubry Davis Thanks again Thomas Am Sonntag, 20. Maerz 2011, um 14.24:38 schrieb Daniel F Heiman: > Thomas: > > With regard to poems in English, you should take a look at the program > and videos from the performance by Ronn McFarlane and Robert Aubry Davis > last Summer at the LSA Summer Seminar and Lute Festival. Mr. Davis read > sections from eleven different poems that mention the lute. Some are > quotations from Shakespeare plays (I am sure you do not want to post the > whole document for those (-;), and some are well known to the lute > community because they are the texts of lutesongs. > > The main page for the program is here, with MP3 files so you can hear > some of the readings: > http://www.cs.dartmouth.edu/~lsa/old/Cleveland2010/McFarlaneConcert/ind ex > .html > The full texts of the poems "Blame not my lute" and "Objections Against > the Immortality of the Soule" are here: > http://www.cs.dartmouth.edu/~lsa/old/Cleveland2010/McFarlaneConcert/Tex ts > .html > > Videos of "Blame not My Lute" > http://www.youtube.com/watch?v=R3GYM8b7L8Q > and "Objections" > http://www.youtube.com/watch?v=R3GYM8b7L8Q > > Feel free to reference these pages. > > Regards, > > Daniel Heiman > > On Sat, 19 Mar 2011 23:03:59 +0100 Thomas Schall > > writes: > > Hi all, > > > > I've redisigned my homepage (http://www.lautenist.de) and would > > > > like to > > > > ask if some of you know poems related to the lute which are not > > > > listed > > > > on my page. > > > > Thanks for your help and all the best > > -- > > > > Thomas Schall > > > > Doerflistrasse 2 > > > > CH-6078 Lungern > > > > +41 41 678 00 79 > > > > lauten...@lautenist.de > > -- > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de --
[LUTE] Re: Odp: lute poems
Hi Grzegorz, I really loved the tour through eastern Poland. It was an adventure because nearly nobody spoke english or german or any other language I understand. So even ordering a Pizza would become a challenge (while ordering beer hasn't been a problem - so the supply of the really important foods has been given) :-) The people there have been very helpful, though. Really a beautiful country you live in - I hope I can return very soon with a little bit more time to visit places I missed last year. The palace of Pulawy is a great place to perform. Some more fotos of my Poland tour are on flickr (http://www.flickr.com/photos/lautenist/sets/72157624472837526/) Best wishes Thomas Am Sonntag, 20. Maerz 2011, um 01.58:09 schrieben Sie: > Hi Thomas, > > thank you for link to your homepage. > > By the way, there are nice photos from Poland in Kazimierz Dolny, Pulawy > and surroundings. I love it this place! You are lucky man that you did > play in these interiors. > > Bests > > Grzegorz > > Dnia 19-03-2011 o godz. 23:03 Thomas Schall napisa^3(a): > > Hi all, > > > > I've redisigned my homepage (http://www.lautenist.de) and would like > > to ask if some of you know poems related to the lute which are not > > listed on my page. > > > > Thanks for your help and all the best > > -- > > > > Thomas Schall > > > > Doerflistrasse 2 > > > > CH-6078 Lungern > > > > +41 41 678 00 79 > > > > lauten...@lautenist.de > > -- > > > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de --
[LUTE] lute poems
Hi all, I've redisigned my homepage (http://www.lautenist.de) and would like to ask if some of you know poems related to the lute which are not listed on my page. Thanks for your help and all the best -- Thomas Schall Doerflistrasse 2 CH-6078 Lungern +41 41 678 00 79 lauten...@lautenist.de -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov
No - I didn't get the message either. Actually (as it was mentioned here) that kind of exaggerated performance kept me away from piano performances for a long time. EKs performance comes to me as if he would "show off" - something not natural to most lute music. But - I feel just like Arto: It's my personal taste and nobody needs to feel the same. Not to get it wrong: I think every musician feels his music and expresses this with motions and expressions (although "commenting" your own playing with face expressions is mostly considered unprofessional). I just don't feel it comes naturally (actually exaggeration is often stylistical feature of a parody) No argument against the hipness of anything. I still must stress that there was no moral/intellectual/religious/etc. critics to K's video! Just that it did not please me, I did not like the show, it was - just to me - a performance that did not work. I did not get the possible musical message. I am happy you got it! And I suppose so did the majority? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: EMS Lutes
Hi I would recommend a student lute by Renatus Lechner http://www.renatus-lechner.de/ or a second hand lute best wishes thomas Am 22.11.2010 12:41, schrieb Lex van Sante: Hi Andrew, I for one wouldn't go for EMS. The initial purchase price would be within anybody's reach but there are additional costs such as refitting the pegs so one actually can use them for tuning. Also they invariably have to be set up well. If done you'll end up having a half decent student lute at best. I for one wouldn't bother. Better to save up a bit more or go for a second hand lute in good condition. Cheers, Lex Op 22 nov 2010, om 03:46 heeft Andrew White het volgende geschreven: Hi all, I have a student interested in taking up the lute, but she doesn't want to spent too much money initially. She asked about the EMS lutes, unfortunately I have never seen or heard one before so I can't really offer she any advise. I was hoping anyone familiar with these lutes could comment on their quality / value for money, and whether these lutes are a good option for a beginner with a small budget. Cheers, Andrew To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
Take a look at the examples: http://www.copyright.ch/?sub_id=72&leng=0 Cheers Thomas Am 21.10.2010 14:49, schrieb R. Mattes: On Thu, 21 Oct 2010 14:31:17 +0200, Thomas Schall wrote I guess this would count as performance and clearly is an infringement of copyright law. IMHO copyright (in the US) has very good intensions but it's a law that is hard to follow and is contradictional to common sense and habits. I'm lucky not to live in the US but in switzerland with a more liberal (and practical) understanding of copyright. An arrangement as Tom did would count as "fair use" (http://www.copyright.ch/?sub_id=47&leng=0), Even that's debatable. "Fair use" (which is not the term used in the swiss law) only applies to works you got from the copyright holder. So I you buy an edition/recording from the copyright holder you can create "fair use"-copies. You already paid for that use, so to speak. Cheers, RalfD To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
*LOL* Sending messages to ASCAP and Time Warner each time you hear someone singing "Happy Birthday" surely will be a good way to show your respect for the copyright. I have dealt with GEMA before - I organized a recital for a visiting american lute player. Although not one single protected work has been performed GEMA asked for more than 300 bucks. (actually illegal IMO but the process risk has been to high. Getting your right is something you have been able to affort) Income has been less than 100 bucks. Needless to say that I never arranged a recital by myself again. Thomas Am 21.10.2010 13:55, schrieb R. Mattes: On Thu, 21 Oct 2010 13:41:51 +0200, wolfgang wiehe wrote whatŽs about singing this song on a public place (toilette)? is this copyright infringement? ;-) Oh, so funny! Not. Yes, unless you do it for yourself alone. Yes, IMHO copyright law is in utterly insane. Have a look at http://www.unhappybirthday.com/ or the wikipedia article about that song. But the sad fact is: peolpe had to pay after performing this song in public. BTW, it's not Yoko collecting the fees, it's most likely some copyright fee collection agency like the ascap or GEMA for you in Germany. If you ever had an encounter with GEMA's collecting department you know what to expect. Cheers, Ralf Mattes Original-Nachricht Datum: Thu, 21 Oct 2010 13:36:46 +0200 Von: "anthony.chalkley" An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: In My Life Copyright Issue What is Copyright Infringement? Shouldn't worry too much Tom. Yoko didn't even know Lennon would have been 70 this year - can't imagine she knows any of the songs she didn't howl on - Original Message - From: "Guitar& Lute" To: Cc: Sent: Thursday, October 21, 2010 1:27 PM Subject: [LUTE] Re: In My Life Copyright Issue What is Copyright Infringement? Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. "What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner." See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- R. Mattes -- Systemeinheitsstreichler Hochschule fuer Musik Freiburg r...@inm.mh-freiburg.de
[LUTE] Re: In My Life Copyright Issue What is Copyright Infringement?
I guess this would count as performance and clearly is an infringement of copyright law. IMHO copyright (in the US) has very good intensions but it's a law that is hard to follow and is contradictional to common sense and habits. I'm lucky not to live in the US but in switzerland with a more liberal (and practical) understanding of copyright. An arrangement as Tom did would count as "fair use" (http://www.copyright.ch/?sub_id=47&leng=0), offering it on his webpage would be an infringement of the copyright (http://www.copyright.ch/?sub_id=72&leng=0) while offering it using a password protected service like myDrive.ch with a limited number of users would be legal. I think the latter would be illegal in the US. As well as the "performance" Wolfgang mentions. Thomas Am 21.10.2010 13:41, schrieb wolfgang wiehe: what´s about singing this song on a public place (toilette)? is this copyright infringement? ;-) w Original-Nachricht Datum: Thu, 21 Oct 2010 13:36:46 +0200 Von: "anthony.chalkley" An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: In My Life Copyright Issue What is Copyright Infringement? Shouldn't worry too much Tom. Yoko didn't even know Lennon would have been 70 this year - can't imagine she knows any of the songs she didn't howl on - Original Message - From: "Guitar& Lute" To: Cc: Sent: Thursday, October 21, 2010 1:27 PM Subject: [LUTE] Re: In My Life Copyright Issue What is Copyright Infringement? Hi Tom, Just to help you out here since apparantly you have your idea of what copyright law is, here is a link and a quote from the US copyright office. "What is copyright infringement? As a general matter, copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner." See it yourself, http://www.copyright.gov/help/faq/faq-definitions.html Allan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: In My Life Posted On Web
well done! thank you! Thomas Am 20.10.2010 20:30, schrieb t...@heartistrymusic.com: Here is a link to my website where I have posted my transcription of "In My Life" by John Lennon in PDF, MIDI, and Fronimo 3 Enjoy, Tom Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: OT: video edit software
cool :-) Am 19.10.2010 20:38, schrieb David van Ooijen: Someone on this list kindly suggested Sony Vegas. There is a 30-day trial period. I gave it a try with a little something for my guitar kids: http://www.youtube.com/watch?v=uLEJXWEjH3s Choreography inspired by Hank Marvin c.s. ;-) David PS: Latest three LuteLessons were also put together with Sony Vegas. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Toccata
as David points out Kapsberger is clear about how the sign % (Arpeggio) should be played a chord 0 3 3 2 should be played Bass G then the G on the second string and the B on the first and finally the highest tone D on the third string (assuming a theorbo in A). I think variations are up to us, though ... but of course we should at least know we are playing something which is not intended by the composer. Thomas Am 19.10.2010 00:49, schrieb howard posner: On Oct 18, 2010, at 1:54 PM, Thomas Schall wrote: Hoppy plays it p-i-m-i-a-i-m-i (if I recall correctly) I hope not. I think you p-i-m-i-p-i-m-i. Kapsberger's instruction in the front of the book are pretty clear, if I recall: keep the same pattern, rather than arpeggiating bottom to top all the time. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Toccata
I don't know about historical evidence for what Torelli says. I am playing it (like most others I guess) p-i-m-a I also tried different fingerings of the right hand - and there are some which could work well. For instance I liked the p-i-m-a-m-i version. I wouldn't change the right hand pattern - but this could be rather a matter of personal taste than based on evidence Hoppy plays it p-i-m-i-a-i-m-i (if I recall correctly) Best wishes Thomas Am 18.10.2010 21:46, schrieb Bruno Correia: A question for those who play Kapsperger's toccata arpeggiata. Do you play all the arpeggios with just one formula or keep changing according to the chord? I have Francesca Torelli's tutor for the theorbo, and she advises to always arpeggiate from bass to treble... -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute volume
I can follow your comment about Hoppy because he is playing at a *very* low volume. I have heard him both in a large church playing as well as in a small salon. The first has been disappointing - the second has been a nice experience. I've heard Julian Bream in a larger room - volume has not been a problem at all . Thomas Am 18.10.2010 10:06, schrieb Gary Digman: Two of the lute players I was referring to were Julian Bream and Hopkinson Smith. Both playing to audiences of over 250 people and neither could be heard past the seventh row no matter how much focus one brought to the event. Fortunately in the Julian Bream concert I was able to sneak down to an empty seat in the first row. Not so in the Hoppy concert, the first eight rows were reserved for season ticket holders. However, I was able to hear Hoppy play in a library concert later where the conditions were ideal for the lute. The audience was limited to eighty people and the stage was an elevated platform affording everyone in the room the opportunity to both hear and see Hoppy play. Gary - Original Message - From: "Christopher Wilke" To: ; "Gary Digman" Sent: Sunday, October 17, 2010 7:51 AM Subject: Re: [LUTE] Re: Lute volume Gary, --- On Sun, 10/17/10, Gary Digman wrote: 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. Back when I got my Master's in classical guitar, projection was a major focus of our training. While the ability to produce a dynamically nuanced performance was assumed and formed a major part of our grades, we were also expected to understand the practicalities of performing in less than ideal circumstances. We were told repeatedly: get to the hall early; have someone listen to you as you test the dynamic threshold; be prepared to let go of some of the precious dynamic or phrasing ideas you worked out alone in the practice room; you might want to consider moving your right hand position a little closer to the bridge as a general position for this concert; descend to really low volume as a special effect only were dramatically appropriate - maybe once or twice in a program; above all, HAVE REGARD FOR YOUR LISTENERS. I've never encountered this in my lute training, where the emphasis has been decidedly on working out even more subtle gradations. This is all well and good - professionals should have total control over the instrument - but what about the people on the other side of the lute? There's no reason a lute can't feature in the same size halls as classical guitar. Although the overall volume is slightly less, it carries far better than the comparatively bass-heavy, mellow modern guitar. The real problem comes down to two culprits: the myth of the lute as "mystical window to another era," and the strong-weak articulation. I'm prepared dismiss the former, a view which embraces the idea of the lute as some sort of delicate magical device whose spell will be broken if its voice rises above a hush, because this is a fairly tale modernism. The latter is more difficult. We all know that good-bad, strong-weak alternation was part of early music. In practical terms, however, if you're playing in a large hall and no one can hear your weak notes, the audience is literally missing half of what you're playing. A player might have to settle for strong-less strong or REALLY STRONG-strong or even strong-strong in some cases. Sorry, you might just have to eschew showing off what an erudite, HIP musician you are in lieu of showing off the music. I once took a large group of my classical guitar students to hear a big name lutenist who was performing in a not-especially-large venue. My students all said that the concert was boring because the performer only played simple little pieces. When I actually showed them the sheet music to some of the pieces played, they couldn't believe the degree of musical sophistication involved. They left with the impression that the lute had some great music written for you, but its really a weak little instrument. I had to sympathize with their position because I too felt that many of the subtleties of the music never got to the audience due to the incredibly intimate, sensitive touch of the performer. As a lute fan, I could appreciate the performer's awesome contro
[LUTE] Re: Flute and lute
I would have a few pieces on http://lautenist.de/downloads#kammermusik plus http://www.lautenist.de/LiutoD.pdf (Daube) and http://www.lautenist.de/LiutoH.pdf (Haydn) Best wishes Thomas Bruno Correia schrieb: I'm interested on this site too! 2010/8/29 Fabio Rizza <[1]fabio_ri...@alice.it> Dear friends, one or two years ago someone posted here a link to a website with tenths of pieces for flute and lute. Does anyone remember the link to that website? Thanks a lot, Fabio To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:fabio_ri...@alice.it 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gerle Faksimile
I seem to recall Bernd Becker made an edition, but I'm not sure. I just have a copy of the film. Best wishes Thomas Orphenica schrieb: Oh collective wisdom of the lutes, a friend of mine is looking for a facsimile of Hans Gerles "Tabulaturbuch auf die Laudten". Are there any edititions, reprints or micro-fiches around? Thanks in advance we To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bermudo translation?
There has been one in one of the journals of the lute society. Take a look at their website Thomas Sam Chapman schrieb: Does anybody know if there is a translation of Bermudo's treatise into English or German? Or at least bits of it? Thanks! Sam -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lucca - Corrente
I really enjoyed listening your performance and I liked the setting, too. What has been the recoding setup? I never seem to get the lute sounding so natural on my (home) recordings *sigh* And Anton a big thanks for producing and making this settings available. All the best Thomas Stuart Walsh schrieb: Anton Höger wrote: hi, I have uploaded a Corrente from the Lucca manuscript, for a 7 ch-Lute. And, of course, I wrote a Contrepartie for a second obligate lute. It sounds very nice, and its easy to play. Enjoy it. P.S.: If I dont get any feedback of my work, I will not upload anymore and will delete all uploads! OK here's an amateur performance of it and some feedback (from an amateur, of course) and many thanks of making it available. www.pluckedturkeys.co.uk/Corrente.mp3 I'm playing it at a cautious pace (too slow?) because of bars 48-50 in your contrapartie which is a bit tricky. These bars and bars 28-30 threw me a lot. Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Intabulated Chorals
Hi Ralf, thanks for sharing! Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Les Journees du Luth a Paris 2010
You'll find mine plus some impressions of Paris on http://www.flickr.com/photos/lautenist Best wishes Thomas T.Kakinami schrieb: Some pitures of Les Journees du Luth a Paris 2010, Societe Francaise de Luth. Have a fun. http://kakitoshilute.blogspot.com/2010/03/les-journees-du-luth-paris-2010.ht ml _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_//_/_/ _/ Toshiaki Kakinami _/ E-mail : tk...@orchid.plala.or.jp _/ Blog : http://kakitoshilute.blogspot.com _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_//_/_/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: New CD
I know the story of young boy Reusner being sent to france to study with the great french masters returning (due to homesickness) with the new instrument and a lot of music for it ... Thomas Roman Turovsky schrieb: From: "Max Helder" Frederick the Great's court in Potsdam was a recreation in Germany of Versailles -- Frederick loved all things French. He also imported the baroque lute, an instrument that had been created in France. That's an original thought... RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Robert Spencer Collection
wonders what this would mean to the role of the government on earth ... *curious* Thomas Ron Fletcher schrieb: If we are seen to enjoy such wasteful pursuits, the government would put a tax on it! 'Tis but folly... I prefer to remain oblivious. Ron (UK) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Robert Spencer Collection
your surely right - if both activities should happen at the same time ... Thomas chriswi...@yahoo.com schrieb: Fortunately for the soul, playing early music and being sexually active are often entirely mutually exclusive pursuits. ;-) Chris --- On Fri, 2/12/10, Monica Hall wrote: From: Monica Hall Subject: [LUTE] Re: Robert Spencer Collection To: chriswi...@yahoo.com Cc: "Lutelist" Date: Friday, February 12, 2010, 2:05 AM Oh dear - looks like that includes most of us. Monica - Original Message - From: To: "Eugene C. Braig IV" ; "Monica Hall" ; "Christopher Stetson" Cc: "Lutelist" Sent: Thursday, February 11, 2010 10:15 PM Subject: Re: [LUTE] Re: Robert Spencer Collection Its another "vanitas" picture. The character in the back row next to the lovers - the one smiling while pointing to them and looking out at us - is obviously gaunt and skeletal. This person probably represents death or disease creeping into the midst of the group that is having such a good time that they are oblivious. This underscores the folly of such wasteful pursuits such as music and sex. Chris --- On Thu, 2/11/10, Christopher Stetson wrote: From: Christopher Stetson Subject: [LUTE] Re: Robert Spencer Collection To: "Eugene C. Braig IV" , "Monica Hall" Cc: "Lutelist" Date: Thursday, February 11, 2010, 12:59 PM Good question, Monica. And I'd say, from the expression on her face and her body language, that the outcome won't necessarily be joyful for the guy, at least not for long. Depends what she does next with the cake dish. Chris. "Monica Hall" 2/11/2010 10:37 AM >>> You mean the guy with his arms round the lady on the left. I wonder why she is holding up the cake dish. Does this have some obscure subtext? Monica - Original Message - From: "Eugene C. Braig IV" To: "'Christopher Stetson'" ; "'Monica Hall'" Cc: "'Lutelist'" Sent: Thursday, February 11, 2010 3:08 PM Subject: RE: [LUTE] Re: Robert Spencer Collection -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Christopher Stetson Sent: Saturday, February 06, 2010 5:03 PM To: Monica Hall Cc: Lutelist Subject: [LUTE] Re: Robert Spencer Collection Is this the one: [1]http://www.klassiskgitar.net/massys-joyful.html ? Yes, they look like a fun group. [Eugene C. Braig IV] Personally, I don't know, but it does look like an especially "Joyful Reunion" for one lecher in particular. Eugene 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 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Emotion, introvert vs. extrovert playing
Nancy Carlin schrieb: One more point - the interpretations of Dowland by Hoppy and Paul O'Dette are very, very different, but you can enjoy listening to both of them. Listening is a different thing than picking aspects of the performances that you can borrow for your own performances of those pieces. That's one of the most fantastic and beatiful things in lute world - the interpretations are not as "fixed" as - for instance - in the violin or piano world. A real treasure! Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Attaingnant online?
I'm not sure if someone already mentioned the edition published by Minkoff (MINKOFF 0888-6, ISBN 2-8266-0888-6) All the best Thomas Christopher Stetson schrieb: Thanks, Stewart, Bernd, Karl, et al. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] lutes in nuernberg
for those interested I have found a document on the internet describing the instruments in the Germanisches Nationalmuseum: http://forschung.gnm.de/ressourcen/musikinstrumente/PDF/Lauteninstr_Dok.pdf ( in german) 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: Conradi Sonata
I think Schäffer's CD is re-issued on CD (http://www.amazon.com/French-Baroque-Suites-Reusner-Conradi/dp/B029VU) A great recordung which I would like to recommend wholeheartedly Thomas Daniel Winheld schrieb: And of course the fine rendition by the late Michael Schaffer of the A major suite on his recording of "French Baroque Lute Suites", which was available on CD, don't think it's still in print, but used copies may be available. Definitely a must have. Dan To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: constructive critical commentary
I wonder what is the reason why many feel they would be capable to criticise on whatever is published. I really appreciate even harsh critics on my playing if it helps to develop (although sometimes it's hard to accept if someone criticises very basic features of my playing. But if there are reasons given it helps to improve and I consider it helpfull - at least after a while ) - but usually you only get comments with no substance and mostly written by people who don't dare to show their skills in public. Don't get me wrong: It's not necessary to play by yourself to write a critical comments but when someone starts being rude I feel it as an act of cowardry to hide oneself and your skills. If someone does show his skills and earns my respect it's much easier to accept harsh critics. Otherwise I take them as trolls. In my personal opinion everybody showing his playing on youtube, vimeo or whatever platform one might use has my respect - just for doing it. I tried it myself and find it much harder to perform on a video than to an audience. And I would second David's recommendation: Better to disable the comment-feature. It's not just because rude comments about your playing could be published, it could also be hurting just to read such bullshit for yourself. All the best Thomas David Tayler schrieb: Holy cow! dt At 11:18 AM 1/15/2010, you wrote: Ed, Right after I came out with my Hurel album, I received a private email from someone who regularly contributes to this list. This was one of the first comments I got about the project. In the rudest, most brusk manner, this person told me A) What an awful job I had done with the repertoire B) How could I be so thoughtless as to use synthetic strings? C) I was being irresponsible to the repertoire and instrument by even presuming to have such a wretched recording out there D) I should just hang it all up right then. This was from someone who was definitely informed about the lute, but constructive criticism it was not. Who knows? Maybe the guy was totally right about all those things, but he knew very well that I was a young guy and that this was my first recording. I knew that the album wasn't perfect, but felt that I had accomplished something just by doing it. Fortunately, it hasn't brought me to too many tears. (I wrote him back a message politely thanking him for his insights.) I don't believe this individual would have ever had the guts to make these statements in an educated public forum. I say again - for those who don't want negative comments on their videos, disable the comment feature on your account. (I believe so few do this because they secretly crave the positive comments.) If you do keep the comments, you have the option of deleting any you find offensive. Chris --- On Fri, 1/15/10, Ed Durbrow wrote: > From: Ed Durbrow > To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: French baroque, Lully and theorbo
I wholeheartedly second Stephen's opinion. 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: Brussels II 276
Isn't it published by Alamire? Have a look at their website: http://64.78.63.10/web/musica/alamire/eng/index.htm BEst wishes Thomas - Original Message - From: "damian dlugolecki" To: Sent: Friday, August 14, 2009 9:01 PM Subject: [LUTE] Brussels II 276 I'd like to get my hands on a copy of the Ms. Brussels I 276. It doesn't appear to be available as a published work. Anyone know how I could access it? BTW I attended Vancouver 2009 and for me it was very rewarding. I learned that there was much that I had to learn about 17th century french lute musical style, and am in the process of getting used to playing thumb out. This alone dictates a change in my expression, making some things temporarily more difficult and some things easier by far. Barto, North and Heringman played at a high level of musicality in their concerts. It was very warm, but not as warm as it was back home in Oregon. Damian -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Alto lute help
As far as I know one can tell the approximate pitch by observing the pitch of old organs (surviving flutes etc.). Which would lead to a standard pitch of a=392-415 for the germany of the baroque. I don't know how the situation may have been in other countries. Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] OT: qualifying examination at school of arts
Dear collective wisdom, a friend of mine will have her qualifying examination at the school of arts in Lucerne and is terribly nervous about it because she has no plan what she expects. Could someone possibly provide information what she will have to expect? Sorry for being off topic Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: whose quote: tuning half his life?
Also Goethe mentions his father playing the lute (which can be seen in the Goethehaus in Frankfurt). He would spent most of the time tuning and the rest would play on a badly tuned instrument ;-) Happy new year Thomas -Ursprüngliche Nachricht- Von: Reinier de Valk [mailto:reinierdev...@home.nl] Gesendet: Donnerstag, 1. Januar 2009 15:36 An: Lute Net; David van Ooijen Betreff: [LUTE] Re: whose quote: tuning half his life? Dear David, That was Johann Mattheson, in his Neu-eröffnete Orchestre: “Denn wenn ein Lauteniste 80. Jahr alt wird / so hat er gewiβ 60. Jahr gestimmet.” A little further, he pours some salt in the wound by adding that: “Das ärgste ist / daβ unter 100. insonderheit Liebhabern / die keine Profession davon machen / kaum 2. capable sind / recht reine zu stimmen. . . .” Both citations are taken from pp. 226-27 of the 1997 facsimile reprint of the abovementioned work (Hildesheim: Georg Olms, 1997). Kind regards, Reinier - Original Message - From: "David van Ooijen" To: "Lute Net" Sent: Thursday, January 01, 2009 3:17 PM Subject: [LUTE] whose quote: tuning half his life? >A question for the collected wisdom, once the champagne hangover has >lifted: > > Whose quote is it, that a lute player spends half his life (or > whatever it is in the original - is there one?) tuning his instrument? > > David - I know, plays out of tune the other half > > -- > *** > David van Ooijen > davidvanooi...@gmail.com > www.davidvanooijen.nl > *** > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ronn McFarlane Nominated for 2009 Grammy Award
I'm not sure if this is already commonly known, so: Ronn McFarlane Nominated for 2009 Grammy Award Winchester, VA Dorian / Sono Luminus is very proud to announce that world renowned American lute player Ronn McFarlane has been nominated for a Grammy Award as announced by the Recording Academy last week. McFarlanes album Indigo Road (dorian / sono luminus) has been nominated in the Best Classical Crossover Album category. The 51st Annual Grammy Awards are to be held on February 8, 2009. McFarlane has devoted himself to reviving the original tradition of lute composers where historically the lute player and the composer of music were one and the same by composing original, modern works for this age-old instrument. Many of the pieces on Indigo Road tread the line between popular, folk, new age and classical music where some of the works draw heavily on Renaissance and Baroque styles, while others are expressed in a more modern musical idiom. The pieces take the listener down aural roads from one composition to the next: from the peaks of Denali, to the Pinetops of Maine, into a storming sky in Blue Norther and across Uncharted Waterslisteners are transported to the future through dreams and left feeling wistful and nostalgic as if remembering the distant past. McFarlane will be recording 2 Videos this week in support of the album and is currently touring in the east coast with famed early music ensemble the Baltimore Consort of which he is a founding member. www.ronnmcfarlane.com www.doriansonoluminus.com Ronn Mcfarlane is available for live appearances and phone interviews. To request an interview contact: Jessica Shores Dorian / Sono Luminus email: [EMAIL PROTECTED] (540) 667 - 0729 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bach on the baroque lute
There should be some transcriptions for renaissance tuning on my web site http://www.lautenist.de try http://www.lautenist.de/BWV997_10ch.pdf and http://www.lautenist.de/BWV1007.pdf and try http://www.lautenist.de/Basti10ch.pdf Hope this helps Thomas - Original Message - From: "Marcelo F lorenciano Alonso" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; "David Rastall" <[EMAIL PROTECTED]> Cc: "lute-cs.dartmouth.edu list" Sent: Monday, November 10, 2008 9:58 PM Subject: [LUTE] Re: Bach on the baroque lute Hi, lutelisters! Does anyone know a transcription, in tablature, of the lute works: BWV 995, 997, 998, 1006 and 1000 where it can be freely downloaded ? Thank you very much! Marcelo Alonso __ Novos endereAS:os, o Yahoo! que vocA-a conhece. [1]Crie um email novo com a sua cara @ymail.com ou @rocketmail.com. -- References 1. http://br.rd.yahoo.com/mail/taglines/mail/*http://br.new.mail.yahoo.com/addresses To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Baroque lute and traverso
Falckenhagen for example, we played Baron's duet in d-Minor - some of the violin works by Baron work well, too. Rust sounds perfect in this combination ... Hagen is to much idiomatic for the violin. There ist some more - I could check some old programs Thomas - Original Message - From: "Bernd Haegemann" <[EMAIL PROTECTED]> To: "'LuteNet list'" Cc: "baroque Lutelist" <[EMAIL PROTECTED]> Sent: Tuesday, October 21, 2008 7:34 PM Subject: [LUTE] Baroque lute and traverso Dear all, could you point me to some repertoire for the combination baroque lute & traverso (I am aware of the possibility to play continuo on the d-minor lute :-) thank you!! B. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute sound / split sound
I've read it's the 20th century and german version of what we know as style brisé (just in case nobody else has already mentioned). Thomas - Original Message - From: "David Tayler" <[EMAIL PROTECTED]> To: "lute-cs.dartmouth.edu" Sent: Thursday, October 02, 2008 4:58 AM Subject: [LUTE] Re: Lute sound / split sound I thought Spaetklang was when you can't keep the tempo. d At 02:08 AM 9/30/2008, you wrote: And Splatklang is when you don't quite manage to play that difficult chord P To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] a report of the trip of the swiss lute players to the ticino
Hi all, if you should be interested you will find a small report with many pictures about the trip of the swiss lute players to the Ticino on [1]http://apps.new.facebook.com/wildfire_slates/6118840 35?tablet_id=48362&mode=0& If this report should raise interest to join us - we travel twice a year for our lute playing days to the ticino. Next trip will be in April. All the best Thomas -- References 1. http://apps.new.facebook.com/wildfire_slates/611884035?tablet_id=48362&mode=0&; To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: French Style
I would call "reduction" the keyword. Eliminating everything not absolutely necessary but on the other hand highly elaborate - especially in terms of rhetoric Best wishes Thomas - Original Message - From: "David Rastall" <[EMAIL PROTECTED]> To: Sent: Thursday, June 19, 2008 9:35 PM Subject: [LUTE] French Style I'm wondering: what is it that makes up the "French style" of Baroque music? I don't mean particularly stile brise, notes inegall etc. Those are obvious, and to me insufficient explanations to convey the French Baroque. It seems to me there's more to it than that. Are there, for example, considerations in the French style that have to do with the cadences and general kinds of rhythms of the French language itself? What things does one need to understand / appreciate in order to make effectively rhetorical music in the French style? Anybody got any ideas on this? Best, David Rastall [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: Imprimatur
Please not Depardieu again as a musician - his Marais was ridiculous (although I *love* the movie!) - Original Message - From: "Rob MacKillop" <[EMAIL PROTECTED]> To: "Monica Hall" <[EMAIL PROTECTED]> Cc: "Vihuelalist" <[EMAIL PROTECTED]> Sent: Tuesday, May 13, 2008 11:21 PM Subject: [VIHUELA] Re: Imprimatur I've seen it in the shops but didn't know it had De Visee in it. What a hoot. Must read it. Is it any good? So, which actor would play our hero? Depardieu? Robert de Nero! Rob 2008/5/13 Monica Hall <[EMAIL PROTECTED]>: I wonder whether many people on this list have read "Imprimatur" by Rita Monaldi and Francesco Sorti. It features De Visee - playing a six-string guitar - and the castrato singer Atto Melani - a sort of Da Vinci Code meets Tous les Matins du Monde. It is now available in English translation - and not to be missed! I wonder whether it will be made into a film. Monica -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: trip of the swiss lute player to the ticino
Not all of have a chance to have several lutes at their command ;-) I admit: 7-course lutes would have been more *stylish* but I am the only one who has one All the best Thomas - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Saturday, April 26, 2008 9:46 PM Subject: Re: [LUTE] trip of the swiss lute player to the ticino On 4/26/2008, "thomas schall" <[EMAIL PROTECTED]> wrote: Hi all, I wrote a small report of our trip to the ticino (actually I rather commented some photos) which you'll find on http://apps.facebook.com/wildfire_slates/611884035?tablet_id=37831&mode=0&; Dalza with so many courses?! ;-) Nice photos Thomas, thanks! Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Some recordings
Hi all, in case someone should be interested in that stuff: I've put some results of today's rehearsal online. Fugga pur chi vol Amore (my arrangement): http://www.lautenist.de/Fugga.mp3 (me on Vihuela) Romance di Moriana: http://www.lautenist.de/Romance.mp3 (me on Vihuela) Over the Rainbow (*grin*): http://www.lautenist.de/Rainbow.mp3 (me on Lute) the complete gang together plays: http://www.lautenist.de/Ostinato.mp3 (me on Alto Lute and Vihuela) Have fun Thomas -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: continuo playing in Germany
It already is - teh text comes with english translation. Thomas - Original Message - From: "Rob MacKillop" <[EMAIL PROTECTED]> To: "Mathias Rösel" <[EMAIL PROTECTED]> Cc: "rodrigo demetrio" <[EMAIL PROTECTED]>; Sent: Thursday, April 17, 2008 8:05 PM Subject: [LUTE] Re: continuo playing in Germany Is there any possibility that this will be translated into English? Rob On 17/04/2008, "Mathias R=F6sel" <[EMAIL PROTECTED]> wrote: Please excuse tze shameless ad: Order Fundamenta der Lauten-Musique from Deutsche Lautengesellschaft. It's a tutor for continuo with 11c lute in D minor tuning. -- Mathias 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 Regensburg 2008
Here the report is formatted (and with a few pictures attached): http://apps.facebook.com/wildfire_slates/611884035?tablet_id=35413&mode=0&; Thomas To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Telemann Hochzeitscantata
You'll find many of his music (and a lot of unpublished and unknown music) in Frankfurt http://telemann.info/ http://www.stadtgeschichte-ffm.de/artikel/telemann.html I regret I don't know if the Cantata in question is in the Frankfurt collection. Anyway a good source to dig into unknown baroque material. Thomas - Original Message - From: "LGS-Europe" <[EMAIL PROTECTED]> To: Sent: Sunday, March 30, 2008 7:01 PM Subject: [LUTE] Telemann Hochzeitscantata Telemann wrote quite many wedding cantatas, many lost, and one for 1 voice (S or B) and bc. That might be what I am looking for. This what the Grove said: TWV 11:28 Lustig bei dem Hochzeits-Schmause, 1v, bc, 1720, lost, part ed. H. Leichtentritt (Berlin, 1905) Can anybody help me locate a score? David David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: plucked bass
The german mandora is a development of the late baroque period and it's home was northern italy, austria, bohemia and the southern parts of germany. Known composers are Brescianello, Schiffelhotz and others. You'll get an image when watching David van Edwards site: http://www.vanedwards.co.uk/two.htm#mandoras (pictures of one instruments here: http://www.vanedwards.co.uk/37c.htm) Best Thomas - Original Message - From: "Brad McEwen" <[EMAIL PROTECTED]> To: "Rob MacKillop" <[EMAIL PROTECTED]> Cc: "Doc Rossi" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>; "cittern list" <[EMAIL PROTECTED]> Sent: Thursday, March 27, 2008 12:46 PM Subject: [LUTE] Re: plucked bass Rob: Tht's news to me. I have always read that the instruments referred to as mandoras, (including the instrument that you call the mandore) are what you call the "small treble'like lute" . The Royal Ontario Museum has the small treble lute listed as a mandora. So does the Broadside Band, Ron McFarlane, and otherrecordings. I don't know how many books I have seen over the years that call mandores mandoras. Usually it is stated that mandora is the Italian name and mandore is the French. Every book I have every read on the subject has stated that the terms mandore, mandora and mandola were interchangeable for the same instrument that you have recorded with. What was the period for this German Mandora? The period of usage of the term mandora in the context that I know was the Renaissance. Has some newe reseaarch brought something to light that will cause all previous books on the subject to now be incorrect and outdated? All museums will have to recatalogue and rename the mandoras in their collections? Although I do not, as previously stated, have academic credentials, I feell that I'm reasonably well informed on this subject and I ahve never heard of this lower pitched German mandora. Brad Rob MacKillop <[EMAIL PROTECTED]> wrote: Sorry, Brad, but you are not quite correct. I recorded music for the mandore, not the mandora. The former is the small treble-like lute, four or five courses, while the latter is a large German lute of various pitches and numbers of strings. The mandora in E was the same tuning as the modern guitar, but more often appeared down a tone in D, and often again in eight courses. Rob - Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hurel download
Just in case somebody doesn't already know about this: http://www.shipbrook.com/jeff/bookshelf/index.html?sort=byauthor You'll find Hume, Barley, Variety of Lute Lessons, a very nice description of a mask by Campian (including some songs), Robinson and other interesting period readings. All the best Thomas - Original Message - From: "Stewart McCoy" <[EMAIL PROTECTED]> To: "Lute Net" Sent: Tuesday, March 25, 2008 7:56 PM Subject: [LUTE] Hurel download In looking for Hurel, I stumbled across a complete facsimile of Thomas Robinson at http://amphionconsort.com/sitebuildercontent/sitebuilderfiles/theschoole ofmusicke.pdf Stewart McCoy. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov as a circus musician
Canaries? very entertaining - I love the sound of the zynk. The players look so funny when they play *grin* Thank you for directing us to this video. Best wishes Thomas - Original Message - From: "Roman Turovsky" <[EMAIL PROTECTED]> To: "Lutelist" Sent: Sunday, March 23, 2008 3:55 PM Subject: [LUTE] Karamazov as a circus musician http://www.youtube.com/watch?v=gtnSb3aJz0o RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: amateur recording
Funny that this piece seems to be well known. I never heard of it until the swiss lutenists on their regular trip to the lago maggiore found the year of spinancino's first print to be passing without recognisable resonance. So we decided to plan a "500 years of ... " series of recitals as some kind of showcase for the lute and it's repertoire. One seldom has the opportunity to present a wide range of instruments and the vast variety of the repertoire preserved in the lute books in one single concert (although we concentrate on the jubilee). I digged a little bit more into the repertoire and found (among others) "Ostinato" - and am amused what I've found in the meantime. I seem to know so little about what's all recorded and the history of the reappearance of the lute starting from the 70's! My only excuse is that I was barly born then. But it's great to learn more about how it all came into being! I really enjoy those personal stories and am very keen on learning more. All the best Thomas - Original Message - From: "Ron Andrico" <[EMAIL PROTECTED]> To: "Sean Smith" <[EMAIL PROTECTED]>; "Lute Net" Sent: Sunday, March 23, 2008 1:44 AM Subject: [LUTE] Re: amateur recording Sean: I think 'Ostinato vo' seguire' was introduced by Anthony Rooley, to whom we owe so much, in his anthology of early music published by Penguin. We are performing that piece and also 'Per dolor me bagno il viso' (both by Bart Tromboncino, by the way) in a concert program Saturday, March 29th at 7:00 pm at Pebble Hill Presbyterian Church 5299 Jamesville Road in Dewitt, New York, near Syracuse. The concert will feature Italian and English songs and lute music by both Tromboncinos, Verdelot, Marenzio, Festa, and Monteverdi, and Dowland, of course. We will be joined by viola da gamba specialist, Alexander Rakov, performing on the rarely heard songs by Dowland from Pilgrims Solace, featuring obliggato treble viol. We will also be performing this program the following day Sunday, March 30th at 4:00 pm Church of the Holy Trinity 346 Prospect Street in Binghamton, New York. Admission for both concerts is: $12, students & seniors $10, kids under 12 free. Best wishes, To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: lute party in berlin
Nice pictures! I wished I could have been there I've heard about that event years ago but never made it to Berlin the right time. How about announcing the event here a bit in advance? All the best Thomas - Original Message - From: "wolfgang wiehe" <[EMAIL PROTECTED]> To: Sent: Monday, March 10, 2008 11:50 AM Subject: [LUTE] lute party in berlin hello all, this weekend we have had our 20th (!) lute party in berlin! tuning, playing, eating, talking, singing, drinking if you like to see 1001 :-) more lute player fotos go to http://flickr.com/photos/[EMAIL PROTECTED]/sets/7215760408349/ greetings wolfgang To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Letter to the Editor
I wonder if artistic education needs comparision. What else should be the sense of developing formal criteria. I don't see any practical advantage of putting education into a more or less fixed schema. Except comparision of the educating institutes. Actually the institutes are on a very high level and I would consider it a step back if Hoppy (at the Schola in Basel) or Konrad Junghänel (in Cologne) should be pressed into a schema of teaching (the same applies of course for the conservatories and universities offering lute studies in the rest of the world). Thomas - Original Message - From: ""Mathias Rösel"" <[EMAIL PROTECTED]> To: "David Rastall" <[EMAIL PROTECTED]> Cc: "Stephen Arndt" <[EMAIL PROTECTED]>; "baroque Lutelist" <[EMAIL PROTECTED]> Sent: Saturday, March 08, 2008 11:19 PM Subject: [LUTE] Re: Letter to the Editor No idea as far as the US is concerned, but I've come to know that there is an initiative of music teachers in Switzerland to develop criteria of formal lute training. Oliver Holtzenburg, organizer of the International Festival of the Lute (this time taking place in Regenburg, Germany, on 5th--7th Apr) is heavily involved. Anyone in Old Europe who is interested, ask him! Mathias "David Rastall" <[EMAIL PROTECTED]> schrieb: On Mar 2, 2008, at 9:36 PM, Stephen Arndt wrote: > For those of us who don't have (and who have never had) teachers, > this is a great way to learn. Stephen's comment brings to mind something I have been thinking about for some time: how many of us in the lute world can claim to have "studied" with a teacher for any substantial length of time? Is the idea of studying an instrument with someone an impractical notion nowadays? It seems to me that most of the instruction on the lute, at least that most people talk about, is received at seminar workshop weeks, master-class weekends etc., mostly in informal settings. It's a bit like the folk music world: mention almost anything that constitutes a formal background in music, and the cry goes up: I don't need that! I don't need to know theory. I don't need notation. I don't need to know this, I don't need to know that. (in the lute world we do know history, I'll give us that!) If you're an independent music teacher, I'm sure you have heard people say, "I don't want to learn music. I just want to learn the (fill in the name of the instrument)." In the old days of learning classical guitar in the 60's, there was very little opportunity to study with anyone unless you happened to live near a big city, and there just happened to be a teacher nearby who could give you instruction. Today the infrastructure is in place to study the guitar formally: national- and state-certified educators with advanced degrees and considerable performing experience are working in colleges and universities throughout the world teaching music on the guitar. I wonder if the lute world will ever advance that far. We don't seem to have moved much further forward in developing this type of infrastructure for lute-related studies than we were 35 years ago. Lutenists may not be as thick on the ground yet as guitarists, but there are more and more of us every year, and we're getting higher visibility than ever before. Perhaps the movers and shakers in the lute world need to address this. As far as I know, there are very few places one can go to receive a formal education on the lute, and even fewer to learn how to teach the lute. If I wanted to become a guitar teacher, a piano teacher, even at my age it's obvious where I would go for my education. But if I wanted to become a lute teacher where would I go? Where do I look to find somebody who can teach me to teach the lute? David R [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: jazz on lute
That's true
My point wasn't to show a extra quality - just that a lute (or in that case
a liuto forte) could do anything. And I personally like jazz being played on
lutes (or other non-electronic settings).
There were settings done of some ragtime standards ("Grizzly Bear" for
instance) and we enjoyed playing them as encore.
And the cooler stuff like John Evans (is this music still copyrighted?)
would work perfectly on baroque lute
All the best
Thomas
- Original Message -
I don't think there is anything here that couldn't be done just as well
(or
better) on a guitar. But sure, it looks cool, and perhaps there is a
timbre
or tone quality that could not be replicated on any guitar. (The sound
quality of YouTube does unfortunately not allow for such intricacies).
Anyway, IMO, in this setting the "lute" seems to be taken out of its
context. But who am I to say?
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Karamazov...
Actually I was impressed by the effort put into the production of the video. Karamazov is an impressing player but - 'nuff said - this video is taken from the "Sting-DVD" and there ways to many show elements within it for my taste. I like the Duo performing Police and Sting songs though - which is contained as bonus material on the DVD (I'm sure one can find them on youtube) we directly compared it to O'Dette's and Lindberg's version of th esame piece and guess who "won"? Thomas - Original Message - From: "howard posner" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; "Roman Turovsky" <[EMAIL PROTECTED]> Cc: "Lutelist" Sent: Thursday, January 24, 2008 7:48 PM Subject: [LUTE] Re: Karamazov... I find it noisy and gimmicky; a lot of look-at-me that distracts from the flow of a masterpiece. But that's a matter of taste, I suppose, as is tolerance for the slop whenever he plays sixteenth notes. But if he doesn't like the way Dowland ended the piece, he should play another piece instead of dramatically substituting a minor chord for the major one Dowland wrote. I'm sure there's a lot of lute music that's inconsequential enough that it's not a great sin to tamper with it, but Forlorne Hope isn't in that class. On Jan 24, 2008, at 9:57 AM, Roman Turovsky wrote: http://fr.youtube.com/watch?v=rVWvfnGpF-Y 'nuf said... RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: The Lute in Europe
yes - I think it is a great idea and the result is great. in no means comparable to Doug Smith's book but a colorful overview with many interesting hints and plenty of information presented in an entertaining way. And fianally I got it managed to adjust the program so it can be ordered online on http://www.lutecorner.ch direct link to the shop http://thomasschall.online.de/andiwebshop I'll try to provide english texts soon. need to implement resource files for that. But I guess it works for most of us although in german. Thomas - Original Message - From: "Daniel Shoskes" <[EMAIL PROTECTED]> To: Sent: Monday, January 15, 2007 12:36 AM Subject: [LUTE] The Lute in Europe >I just noticed that the new book by Andreas Schlegel, The Lute in > Europe, is now available for sale on his website (http:// > lutecorner.ch/lautenbuch_e.html). I obtained an advance copy and can > highly recommend it. Great overview of the lute packed full of > excellent photos of original lutes. Book is bilingual in German and > English. At $21 US it's a steal. > > DS > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: some lute music on utube
sorry - i wrote my note before watching the video - of course it's a baroque guitar Am Freitag, den 29.12.2006, 19:31 + schrieb "Mathias R=C3=B6sel": > > There are other links to Paul O'Dette playing vihuela (I never heard him > > play vihuela before) for example > > http://www.youtube.com/watch?v=i4xVXZQFuhQ&mode=related&search > > neither me. it's a baroque guitar. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Losy! :-)
Hi Bernd, Do you have the Vogel-Edition? He only lists the sources in general not which is taken from which source. Possibly it's berlin 40068, 40620, 40627 which are now in krakow? Best wishes Thomas -Ursprüngliche Nachricht- Von: Bernd Haegemann [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 24. November 2006 16:13 An: lute list Betreff: [LUTE] Losy! :-) Ave! Could you please name me a source for a Suite/Partita in B major by Mr. Losy/Logy? thank you! Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sting!
Jethro Tull: Thick is a brick was earlier :-) -Ursprüngliche Nachricht- Von: Bruno Fournier [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 23. November 2006 21:54 An: [EMAIL PROTECTED] Cc: lutelist Betreff: [LUTE] Re: Sting! I personally woke up in 1978, long before any pop artist even had heard of the lute. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Terzi duets - help needed
Dear Stewart,
Thank you very much.
Capability to read helps ...
As I have read your message and opened the booklet again I found the
passages which I somehow have overlooked for the past two rehearsals.
Let's see if Paul wants to share his work or if he would rather keep it.
Thanks again and all the best
Thomas
-Ursprüngliche Nachricht-
Von: Stewart McCoy [mailto:[EMAIL PROTECTED]
Gesendet: Donnerstag, 23. November 2006 10:13
An: Lute Net
Betreff: [LUTE] Terzi duets - help needed
Dear Thomas,
The answer to both your questions may be found in the sleeve notes to
the CD:
"Terzi's _Barriera_ galliard is the longest and most elaborate version
known of the homonymous "balletto" in the _Ballarino_ of Fabrizio Carosa
(Venezia 1561). Written originally for solo lute, it is presented here
in a performance on two lutes, which accentuates its "stereophonic"
potential and an even greater harmonic fullness. The transcription is by
Paul Beier."
So Paul Beier has made his own arrangement of _Barriera_ for two lutes.
_Chi farà fede_ has been reconstructed by the other player on the CD,
Beier's pupil, Craig Marchitelli. Again the sleeve notes explain what
they have done:
"Terzi distributes polyphonic material and diminution equally and in
repartee between the two instruments. This example has encouraged us to
find a hopefully acceptable solution to the performance of Alessandro
Striggio's madrigal _Che farà fede al ciel_. The author gives us a
single lute part that combines a partial transcription of the vocal
original with intermittent virtuoso diminutions, but the work is
incomplete as it stands. Terzi leaves us with a somewhat ambiguous note
to the effect that it be "played in ensemble ("in
Concerto") with a big lute", but no other performance indications. We
have therefore decided to perform the madrigal as a lute duet, and Craig
Marchitelli has created for the second lute a part that integrates the
missing sections of the vocal work with, where appropriate, diminutions
inspired on those of the author."
You would need to contact Paul Beier and Craig Marchitelli directly. I
presume their arrangements have not be published.
Best wishes,
Stewart McCoy.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Terzi duets - help needed
Dear David, Thanks for your information. I am fairly often visiting your very informative webpage always planning to order not just the one or the other of your CDs but also the edition with japanese songs - just to surprise my japanese singer and to my pleasure (I like the sound of the language, especially when Misao's speaking or singing). I guess I will be there later and place the order when I find time. All the best Thomas -Ursprüngliche Nachricht- Von: LGS-Europe [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 23. November 2006 10:14 An: Thomas Schall; lute@cs.dartmouth.edu Betreff: [LUTE] Re: Terzi duets - help needed Dear Thomas > Barieraballetto con tutte le sue repliche. Terzi in his second book gives just one part, but the ground can be played by a second lute. If you're clever in dividing the divisions you end up with a nice duet. It sounds like Beier and friend did just that. > Chi fara fede Terzi's Second book has only one part. It says '... per suonar in Concerto con Liutto grande'. I choose to read that meaning to play on a _big_ lute as a solo piece, because it is a complete piece for me. But it might well mean a second lute part is missing, as with Terzi 'in concerto' usually seems to indicate an ensemble piece. In that case you should add an intavolation of the madrigal, Terzi supplies none. Beier and friend however added a second part of equal content, as Terzi did in the Alermifault or in the two canzones by Corregio. Well done! Did they use another source of Terzi's music? In book one there's a series of 'undeci canzoni del Mascara per suonar in concerto, & solo'. The suggestion is you can play these as ensemble pieces, or as solo pieces. But only one part is given. It might be interesting to find second parts of these pieces too. For a complete recording of all Terzi's published duets, you should listen to our recently released cd, of course. ;-) Now also on CDBaby: http://cdbaby.com/cd/michielniessen (Horrible MP3 quality btw. Better go to the site of the label: http://www.turtlerecords.com/audio/28-t01.html http://www.turtlerecords.com/audio/28-t04.html or my own site: www.davidvanooijen.nl to order from me is still possible). Enjoy your Terzi, great music to play! David David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ronn McFarlane
Hi all, Thanks to all who helped. Ronn's playing in mind I feel as if his music would loose pretty much when played on a guitar. But who knows? It's also good to know the music is recorded. Something to add on my wishlist for christmas. Thanks again. This is a great community! Thomas -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 23. November 2006 15:29 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Ronn McFarlane Thomas, Ronn told me about two years ago that he was possibly going to publish those pieces with Mel Bay. They wanted guitar arrangements in tab included, though, and he wasn't sure whether this would even work. Does anyone know if this is still in the works? Chris --- [EMAIL PROTECTED] wrote: > 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 > Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail beta. http://new.mail.yahoo.com
[LUTE] Terzi duets - help needed
Hi all, we just rehearsed duets and wanted to add two Terzi pieces which you can find on Paul Beiers Terzi-CD: Barieraballetto con tutte le sue repliche. The version in the facsimile as well as the one to found on the fronimo server only has one part and we wonder how Paul Beier constructed the duet. It sounds so marvelous on his CD! Any help would be appreciated. The second duet has a second part in the facsimile which is 10 bars longer and not in the fronimo file:Chi fara fede. Again any help would be appreciated. Thanks very much! Thomas Schall Wiesentalstrasse 41 CH-8355 Aadorf Tel.: 052 365 00 04 email: [EMAIL PROTECTED] oder [EMAIL PROTECTED] Web: Http://www.lautenist.de <http://www.lautenist.de/> http://www.lautenist.de/bduo http://www.lautenist.de/gitarre -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gerwig text
A good person to ask would be Joachim Domning. mailto:[EMAIL PROTECTED] Or Matthias Schneider [EMAIL PROTECTED] Regards Thomas -Ursprüngliche Nachricht- Von: Arthur Ness [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 20. Oktober 2006 23:34 An: Jorge Torres; Lutelist Betreff: [LUTE] Re: Gerwig text I've only seen a few of those publications. My impression is that they are rather elementary. By the way, they may still be in print. The distributor of Robert Lienau publications is now Wilhelm Zimmermann in Frankfurt/M. - Original Message - From: "Jorge Torres" <[EMAIL PROTECTED]> To: "Lutelist" Sent: Friday, October 20, 2006 1:33 PM Subject: [LUTE] Gerwig text > Dear List: > > Does anybody have experience with the following Walter > Gerwig publication? > > Das Spiel der Lauteninstrumente : der Lautenist > > Berlin-Lichterfelde : R. Lienau, 1961? > > Heft l. Aus Ein newgeordnet künstlich > Lautenbuch.--Heft 2. Aus einer > Lautenhandschrift des 16. Jahrhunderts.--Heft 6-7. > Alte und neue Musik für > das Solospiel. > > Best, > Jorge Torres > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Sting and his CD
Yes - I also have to change my opinion in large parts after listening to the entire CD. Karamasov's playing is much better recorded than recognizable on the examples. Never trust an MP3! Best wishes Thomas -Ursprüngliche Nachricht- Von: bill kilpatrick [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 19. Oktober 2006 17:02 An: lutelist Betreff: [LUTE] Sting and his CD i bought it and i like it. sting has made an enormous gift to the early music community with these recordings. hipster listers may feel compelled to kick its tires and gape in its mouth (shock of the new, i guess) but when all's said, everybody's going to win. i even bought it while shopping for groceries - not technically "in" the supermarket but in the little music shop very close by. via! - bill Send instant messages to your online friends http://uk.messenger.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: There is thy Sting
I would doubt. The only reason Sting might get more attention is his popularity = his name as pop/rock performer. I've seen Pantagruel and their performance is IMHO ways above Sting's Thomas Am Samstag, den 14.10.2006, 18:34 -0400 schrieb Roman Turovsky: > >> And also totally lacking any character. > >> RT > > > > Character is a matter most likely a matter of opinion and I would doubt if > > any performance by anyone is "totally lacking any character", but the use > > of > > microphones to increase a voice that is unable to fill a small room is > > easier to > > judge. > > > > If character means that your performance is so bad on CD that the general > > opinion is that it sounds like junk, then your favorites have cornered the > > market > > mark > Putting your and your partner's performances against Karamazov/Sting's for > comparative judgement would be asininely unwise, because even at the latter > duo's lower limits they'd still be a few cuts above yours in quality, and > even more so in interest. > So, stay in your comfort zone. > RT > > => http://polyhymnion.org > > Feci quod potui. Faciant meliora potentes. > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] WG: Hove Lautenmanuskript: Faksimile-Neuerscheinung
Possibly this is of interest to you? Best regards Thomas -Ursprungliche Nachricht- Von: Ralf Jarchow [mailto:[EMAIL PROTECTED] Gesendet: Sonntag, 8. Oktober 2006 17:08 An: Ralf Jarchow Betreff: Hove Lautenmanuskript: Faksimile-Neuerscheinung Liebe Lautenfreunde, ich freue mich auf die folgende Neuerscheinung hinzuweisen und verbleibe mit bestem Gruss, Ralf Jarchow Joachim van den Hove: Lautenbuch, Leiden 1615, Gesamtfaksimile / Complete Facsimile Faksimile nach der Lautenhandschrift in der Staatsbibliothek Berlin Signatur: Mus. ms. autogr. Hove 1 Kommentar (deutsch & englisch): Ralf Jarchow Das sogenannte Lautenbuch ist die einzige bekannte Handschrift von Joachim van den Hove, der um 1600 mit Emanuel Adriaenssen, Nicolas Vallet und Gregorio Huwet zu den bedeutendsten Lautenisten der Niederlande z=E4hlte. Die fur 6- bis 10-ch=F6rige Laute in franz=F6sischer Tabulatur intavolierten Stucke sind eher retrospektiv der Renaissance als dem beginnenden Barock zugewandt und unterstreichen den aus den Drucken bekannten eher traditionellen Kompositionsstil Hoves. The so-called Lautenbuch is the only known manuscript by Joachim van den Hove, who, around 1600, with Emanuel Adriaenssen, Nicolas Vallet and Gregorio Huwet was counted among the most important lutenists of the Netherlands. The pieces for 6- to 10-course lute intabulated in French tablature are retrospectively closer in style to the Renaissance rather than to early Baroque and emphasize the more traditional compositional style of Hove known from the prints. Komponisten / Composers: Ballard, Bataille, Caccini, J. Dowland, D. M. Ferrabosco, Gastoldi, Hove, Praetorius, Hagenbach, Lasso, Robinson, Saman, A. Striggio, Vallet =A9 2006 / ISMN M-700090-28-9 / F+K / [2-4] / german + english / 92 pages / Hardcover / 39.- Euro Sample-PDF: www.jarchow.com Jarchow Verlag S=F6nke-Nissen-Allee 9 21509 Glinde Germany Tel: ++49 - 40 - 710 25 41 Fax: ++49 - 40 - 710 53 86 www.jarchow.com [EMAIL PROTECTED] VAT / Ust-ID-Nr: DE 135 492 650 -- 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
Hi Mark, Except the quoted remark I would share everything Sting said in that interview. Possibly someone can translate it? Best wishes Thomas -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 26. September 2006 22:07 An: lute@cs.dartmouth.edu Betreff: [LUTE] The last word goes to Sting Hi, I may have overshot the "Mark" that you usually know, in the last few days. I have a bad cold at the moment maybe extreme HIPness is also a viral infection. So I will let the "Maestro" Sting have the last words taken from an interview online at about his Dowland project... http://www.stern.de/unterhaltung/musik/570529.html?q=sting "Fakt ist, dass wir derzeit am Ende des Pop stehen, der dauernd monotoner wird. Der Rock liegt im Sterben." my attempt at a translation "It is a fact, that we are at the end of pop music, that is becoming more monotone. Rock music lies dieing" A strange comment when you consider that at least here in Germany innovative Rock albums such as the the latest CD's by Muse (who have also claimed to be infleunced by renaissance music) or Billy Talent went straight to the top of the charts, but he has told us the the "truth" so I am sure he knows what he is doing with his archlute :) Mark -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Sting? - Lute awareness?- Fantasy instrument - 30 Years of EM
Isn't it some kind of soothing to play better than a professional. To give better performances than pressed on CD on a well known label like DG? So hey! Lute players of the world: Come out and play! After some disappointment and annoyment thinking the Sting-Dowland is rather funny than annoying Thomas -Ursprüngliche Nachricht- Von: Francesco Tribioli [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 26. September 2006 00:21 An: 'Roman Turovsky'; 'Lutelist' Betreff: [LUTE] Re: Sting? - Lute awareness?- Fantasy instrument - 30 Years of EM > Sting/Karamazov have nothing to be embarassed about. Some of > my favorite CD's are of actors singing, like Gizela May, Nis > Bank-Mikkelsen, Fred Aackestroem, Martin Bagge, Marjana Sadovska etc. > S/K sound perfectly in place. > RT Not embarrassed? They both should flee away for the shame! It's all incredibly bad. His voice is amazingly out of place in this repertoire and often slightly out of tune. He makes huge use of portamento, something that even Carreras would blame in this music. The lute sounds badly and sometimes doesn't go together with the voice, and what about the rock like improvisation of the lute at the end of the first stanza of Can she excuse? And what to say of the lute duets and solos if not just: ARRGH?? Francesco To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Were theorbos used to accompany lute songs?
Dowland's lute parts should be read as realised continuo? Are you sure? I would doubt that ... -Ursprüngliche Nachricht- Von: Ed Durbrow [mailto:[EMAIL PROTECTED] Gesendet: Montag, 25. September 2006 19:09 An: David Rastall; LuteNet list Betreff: [LUTE] Re: Were theorbos used to accompany lute songs? I had a teacher tell me that that is the way you should think of Dowland lute songs: as realized continuo. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Single strung archlute !!!
In the meantime the Early Music Movement seem to have changed the direction. More and more players don't even try to play historical informed but just play period instruments. I am not sure what to think about this phenomenon ... Best wishes Thomas -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Gesendet: Montag, 25. September 2006 18:59 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Single strung archlute !!! In einer eMail vom 25.09.2006 17:25:56 Westeurop=E4ische Normalzeit schreibt [EMAIL PROTECTED]: > Interestingly, POD suggested single stinging as an option. If this is true then maybe the time has come for a reformation of the early music movement, how did we get in this mess ! Mark -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Single strung archlute !!!
Ed wrote: >>I'm already preparing a sign for my next gig: "As sung by >>Sting" ha, ha. That's exactly what I was thinking about when driving back to switzerland this afternoon. I was also toying with the idea of a webpage more or less advertizing sting and setting some links to some of my own performances To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hear Sting Dowland CD at amazon.de
That's what my family said (all rather on pop than on classical music). Anyhow nice to hear that my performances would be much better - from a family which closes all doors when I am rehearsing ... I assume there is a quality which shines through unless questions of taste (have a reading of Pirsig's "Zen or the art of motorcycle maintance" - that's what I mean), - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, September 24, 2006 4:47 PM Subject: [LUTE] Re: Hear Sting Dowland CD at amazon.de > In einer eMail vom 24.09.2006 16:33:09 Westeurop=E4ische Normalzeit > schreibt > [EMAIL PROTECTED]: > >> I think we >> forget just how far removed Early Music is from the >> average person's musical world! Those folks probably >> would not even pick up on what I mentioned above. >> > > I think you are right that the early music world is far removed from the > average person something that was not true 35 years ago. > > I have played the sting extracts to non-classical friends and they all > said > the same thing, that it sounded awful and that Sting didn't have the > technique > to sing Dowland. A non-classical audience is not a stupid as you may think > Mark > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hear Sting Dowland CD at amazon.de
giving their success in football/soccer this is not a compliment *smile* I guess a CD like that of Sting with Karamasov should not be taken too seriously. It was/is a chance to raise interest for composer and instrument and now we should make something out of it. The only thing I am afraid of is that people get a very wrong impression on the lute and Dowland. A fixed recording by an artist like Sting with a lute player edited by a well known record company could lead to the impression this would be the real thing and *good* performances are not recognized like that. Best wishes Thomas - Original Message - From: "Roman Turovsky" <[EMAIL PROTECTED]> To: ; "LGS-Europe" <[EMAIL PROTECTED]> Sent: Sunday, September 24, 2006 4:35 PM Subject: [LUTE] Re: Hear Sting Dowland CD at amazon.de > From: "LGS-Europe" <[EMAIL PROTECTED]> > To: >>> Karamazov has gotten into the big league >> >> Since when is playing with a pop singer the big league? >> >> David - wondering what league he is in ... > The Orange League maybe > RT > > > > > ___ > $0 Web Hosting with up to 200MB web space, 1000 MB Transfer > 10 Personalized POP and Web E-mail Accounts, and much more. > Signup at www.doteasy.com > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hear Sting Dowland CD at amazon.de
Wasn't it Andreas Scholl telling Dowland's music "Folk"? Andreas Scholl has a great voice but felt into the traps of those thinking music would start with Bach ... Speaking about playing with modern orchestras: If you should ever be asked to do so: Leave it! I am playing these eve with a modern orchestra and would say: It doesn't make any sense. What has an archlute to do in an ensemble of 8 modern violins, viols, 3 Cellos, a double Bass, 2 oboe, bassoon and a choir? If it wouldn't be a favour for a friend and the premier performance of 2 Telemann-Cantatas Speaking about Karamazov and Dowland. When listening to the music you can hear on Amazon: It is a catastrophe and not advertising the lute, the beauty of the sound of a lute and the CD doesn't show a glimpse of the beauty of Dowland's music in general. It doesn't need a refined taste to detect that this recording is more than fluid - it's superfluous (okay - the pun works better in german). I really would like to listen to a pop-singer singing and playing Dowland - everything supporting the instrument is welcome, but this one is not helpful - rather the contrary! Best wishes Thomas - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Sunday, September 24, 2006 3:04 PM Subject: [LUTE] Re: Hear Sting Dowland CD at amazon.de > In einer eMail vom 24.09.2006 14:41:18 Westeurop=E4ische Normalzeit > schreibt > [EMAIL PROTECTED]: > > I have never heard of him apart from his work with Andreas Scholl which > didn't impress me at all. I found the Scholl Musical Banquet CD to be a > total > catastrophe, the sort of thing thrown together by record company bosses > with an eye > for the main chance. Bach/Britten on archlute doesn't interest me at > all,quite pointless.I am interested in authentic early music and rock > music, he isn't > authentic enough for my taste and he doesn't rock either :). > > So I will let people with an IRREPROACHABLE taste like you to enjoy his > talents. > > I also don't see what him coming from Sarajevo has to do with his musical > qualities. But now I see from your emphasis that it is probably good for > the > marketing department of DG. > > To return to my question in an original posting, why does he use an > archlute? > Please note I am not interested if Mr. Stubbs uses an archlute as I > believe > you already posted. > > Also playing Kohaut with the modern orchestra Orchestra della Svizzera > Italiana is not exactly an impressive gig. It seems he has cornered all > the jobs > that "authentic" lutenists would probably turn down. Bravo !!! > > I saw that Andre Rieu had a lutenist on one of his CD's maybe you can give > Mr > Karamazov a tip, could be great for his CV. > > Mark > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: non-emotional romanticism
I'll have a problem with that strange kind of costume tomorrow because I'll play with a modern ensemble and have no suitable costume. I simply forgot that one has to wear tuxedo on orchestra performances. So apart from the usual "couldn't the lute play a bit louder" the clothes are the biggest problem. All the best Thomas - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Saturday, September 23, 2006 12:19 PM Subject: [LUTE] Re: non-emotional romanticism > In einer eMail vom 23.09.2006 12:07:53 Westeurop=E4ische Normalzeit > schreibt > [EMAIL PROTECTED]: > >> Personally I don't like costume performances (which work so well for >> Pantagruel) because they bring a certain distance (like the tuxedo of a >> classical pianist) > > I would like to add, that I don't think the future of early music lies in > all > ensembles wearing costumes. > I think it works for us because both me and Dominik come from a rock > background and when I performed with rock bands I always wore a "costume" > . The funny > thing is that Dominik just got back from Leipzig playing in Mozart in a > period > orchestra and complained about having to wearing "stupid costume" he > meant > his tuxedo ! > > best wishes > Mark > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: non-emotional romanticism
Hi Mark, now I understand your point and agree. Anyhow it is impossible to leave centuries of musical history aside. What Pantagruel is doing is an interpetation of what could have been close to a period performance. A good approach in my oppinion because most recitals are "player in front of the audience" performances which really came up in the romantic period. Possibly much more research would be necessary to find out how music was performed then and possibly efforts by players would bring new, fresh ways of performances (like Pantagruel does) which on the other hand could help scientists to find out more. It is my firm opinion since I first played a lute that performing this instrument has a lot of non-musical aspects: The room we are playing in, the atmosphere, the audience, how we present ourselfes (clothes, stage behaviour and many other things). Personally I don't like costume performances (which work so well for Pantagruel) because they bring a certain distance (like the tuxedo of a classical pianist) and we always try to interact with the audience. This is an essential part of our stage-presence. Once we had to perform on a seperated stage with stage lights like for a pop-concert and this was the most uncomfortable situation we have ever played. Thanks very much for bringing up this discussion which I am following with great interest. Best wishes Thomas - Original Message - From: <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]>; Sent: Saturday, September 23, 2006 11:02 AM Subject: [LUTE] Re: non-emotional romanticism > > I will try and explain what I meant by non-emotional romanticism. > > My appraoch to performing renaissance music is to ignore anything that > happened after the periods end and to find answers to the grey areas in > living > musical traditions (whic are of course post-renaissance). Not to make the > music > more up to date or trendy but to gain inspiration from living musicians. > > When we think about romanticism we think about big vibrato and rubato. > Both of these are mostly gone from early music performance, but I still > think > that a lute song performance for instance often still has the character of > a > Schubert Lied recital. This style of performance was something that a 19th > century upper-class listener would feel at home with and would have an > emotional > link to. But to most of the 20th century audience it is a period > performance > style, a romantic (even without vibrato) style performance with limited > possible emotional interaction. > > So what we are often left with is an empty shell - a non-emotional version > of > a romantic concert experience. > > best wishes > Mark > > > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Francesco birthday collection
Hi all, you find the files which are already contributed to celebrate Francescos birthday on http://www.esnips.com/web/FrancescoDaMilano Would be great to get some more music! It's still time! All the best Thomas Schall Wiesentalstrasse 41 CH-8355 Aadorf Tel.: 052 365 00 04 email: [EMAIL PROTECTED] oder [EMAIL PROTECTED] Web: Http://www.lautenist.de <http://www.lautenist.de/> http://www.lautenist.de/bduo http://www.lautenist.de/gitarre -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Tim Burris
Hi, please excuse if I misuse this list. Could someone please give me the email address of Tim Burris? Or Tim, if you should read this message: Could you please contact Andreas Schlegel, [EMAIL PROTECTED] All the best Thomas Thomas Schall Wiesentalstrasse 41 CH-8355 Aadorf Tel.: 052 365 00 04 email: [EMAIL PROTECTED] oder [EMAIL PROTECTED] Web: Http://www.lautenist.de <http://www.lautenist.de/> http://www.lautenist.de/bduo http://www.lautenist.de/gitarre -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco - celebrating his birthday with a MP3
Just an addition: Those who don't want to appear with their name. It's easy to omit the name. I would just like to add the region of the world where the contribution is coming from. Thanks to those who already sent a contribution. All the best Thomas -Ursprüngliche Nachricht- Von: Thomas Schall [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 11. August 2006 00:01 An: 'lute@cs.dartmouth.edu' Betreff: [LUTE] Francesco - celebrating his birthday with a MP3 Dear all, whoever wants to share their performance of a piece by Francesco da Milano: To celebrate his birthday I would be willing to collect the music you send and will put it on a website. Everything which arrives until august, 18th will be published. Best wishes Thomas Schall Wiesentalstrasse 41 CH-8355 Aadorf Tel.: 052 365 00 04 email: [EMAIL PROTECTED] oder [EMAIL PROTECTED] Web: Http://www.lautenist.de <http://www.lautenist.de/> http://www.lautenist.de/bduo http://www.lautenist.de/gitarre -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Francesco - celebrating his birthday with a MP3
Dear all, whoever wants to share their performance of a piece by Francesco da Milano: To celebrate his birthday I would be willing to collect the music you send and will put it on a website. Everything which arrives until august, 18th will be published. Best wishes Thomas Schall Wiesentalstrasse 41 CH-8355 Aadorf Tel.: 052 365 00 04 email: [EMAIL PROTECTED] oder [EMAIL PROTECTED] Web: Http://www.lautenist.de <http://www.lautenist.de/> http://www.lautenist.de/bduo http://www.lautenist.de/gitarre -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano
How about a MP3 collection of our favorite Francesco. I would offer to organize it ... All the best Thomas -Ursprüngliche Nachricht- Von: Ron Fletcher [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 10. August 2006 23:26 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Francesco da Milano Caroline wrote... Francesco's birthday is coming up - Aug. 18. What will you be doing? I just checked my diary and, I have a 'window'... Uh-ho... - This is not another office 'whip-round'is it? Oh, - Francesco da Milano...In that case, a world-wide lute fest? Count me in. Any suggestions? Do we all play the same piece. Or, do we each play our favorite? Ron (UK) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano
Playing Francesco's music could be a good choice. I found a nice longer fantasia in the "Lute in Italy" collection - I think I will prepare it for his birthday. Best wishes Thomas -Ursprüngliche Nachricht- Von: Caroline Usher [mailto:[EMAIL PROTECTED] Gesendet: Donnerstag, 10. August 2006 16:07 An: lute@cs.dartmouth.edu Betreff: [LUTE] Francesco da Milano Francesco's birthday is coming up - Aug. 18. What will you be doing? Caroline Caroline Usher DCMB Administrative Coordinator 613-8155, Room B343 LSRC Mailing address: Box 91000, Duke University, Durham NC 27708 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Mathesson quote
If I recall correctly I have seen the quote first in Baron's "Untersuchung". At the moment I have guests sitting in front of my small library but could look it up later if you want me to. Best wishes Thomas -Ursprüngliche Nachricht- Von: George Torres [mailto:[EMAIL PROTECTED] Gesendet: Dienstag, 8. August 2006 19:04 An: lute@cs.dartmouth.edu Betreff: [LUTE] Mathesson quote (Apologies for the repost...this one has the correct subject.) Dear List: Am I right in recalling that it was Mathesson who commented that in Paris it was more expensive to keep a lute than a horse? If so, where does that quote come from, and where could one find it in print? Thanks, Jorge To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] WG: Re: (was) Strings for chittarone
I cannot agree more. The only objection I would have to Ariel's point is that gut gives a different feeling for the player. When playing gut I feel a bit as if the fingers would be glued to the string I am trying to plug while gut players don't like the feeling of syntetic materials. Best wishes Thomas -Ursprüngliche Nachricht- Von: ariel abramovich [mailto:[EMAIL PROTECTED] Gesendet: Montag, 7. August 2006 10:41 An: Lutenet Betreff: [LUTE] Re: (was) Strings for chittarone Hi all, we've been in the subject before, many times. As most of you, I've heard people playing lutes strung in all sort of materials, both in concerts and recordings, with good and bad instruments. I've also used both and had the chance to experiment a bit. There's no point in arguing about taste but there're a couple of objective things: Most professional players don't use gut while playing concerts, because of intonation and other practical reasons. Audience do suffer our tuning problems more than we do (and more than what we think). They might not exactly know what's going on, but certainly perceive that something sounds simply bad, and that can be distracting and frustrating. On the other hand, in a modern (big) concert hall would be very difficult to tell whether you're using gut or synthetic, ever for someone who's trained. You're lucky if they can hear you. It is, at the end, a matter of values. More important to me, the string material is only a small fraction of the whole tone production process. Making a flexible sound (I wouldn't, again, say good or bad) takes years of work and daily practice, and many people wouldn't want to "waist" time doing that (for instances, some students just don't get the point). Why bothering then in spending absurd amounts of money in strings if the sounds is mainly in your fingers? I remember when I met Paul O' Dette back in 1995, and took for my lesson a very simple lute built in Buenos Aires that I played back then. No surprises here, he played and sounded just like PO'D, there was no sings of a poor instrument anymore. The very same experience when I've studied with Hoppy, or with Eugène Ferré: sound quality wasn't determined by the tool's quality (nor by the strings). Synthetic or gut doesn't really get us closer or further away from Francesco, Dowland or Narváez and Newsidler. Understanding of the language, our skills with the instruments and inspiration does it, in my opinion. Apart from that, not all modern lutes are made for gut. Many modern makers test and conceive their instruments with/for synthetic and certainly don't have a gut sound in mind, for what strings material becomes something relative here. Again in a personal terrain, the best lute concerts and recordings I've heard were performed with synthetic, and by any chance I felt I was missing something. Gut strings have very nice qualities, but I wouldn't exaggerate their importance. Saludos, Ariel. > Chris > >> about gut strings in the past: our gut is _not_ "their >> gut." (i.e. the exact same type of string that was >> made back in the day.) Therefore, whatever you decide > > I'd say that the gut strings of all the different gut string makers of > today, with their variety of products with quite different > characteristics and sound, all come closer to a sound a lute player of > old had with his variety of gut strings available to him, closer than > a modern string of uniform material. Gut is a complex material > resulting in a complex sound. No two strings are the same, such a > baroque concept! Baroque art is like custard with lumps, not processed > yoghurt with artificial vanilla flavour. All nylgut is nylgut, all > carbon is carbon, all nylon is nylon. How can you > enter a world of complex 'organic' sounds with a uniform 'synthetic' > sound? > A good wine is not the same as a cheap softdrink, but if you drink the > latter often enough, you might start to like it. I agree that gut (basses > especially) might be an aquired taste, but aren't those the most > enjoyable? > I like gut strings for all the reasons stated above, not because they are > exactly the same as the strings Francesco or Dowland had. But at the same > time I am convinced that playing on non-gut strings will certainly get me > further away from a sound of Francesco or Dowland. > > Why is it that lute players must be told their instruments were made > for > gut > strings? Isn't it obvious? > > David > > > > David van Ooijen > [EMAIL PROTECTED] > www.davidvanooijen.nl > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
[LUTE] Re: Does anyone know if this instrument is any good?
Sorry - it must read Luciano Faria: http://www.lucianofaria.com/ I've not played any of his instruments yet but he got good very good reviews. Best wishes Thomas -Ursprüngliche Nachricht- Von: Christopher Witmer [mailto:[EMAIL PROTECTED] Gesendet: Samstag, 5. August 2006 14:29 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Does anyone know if this instrument is any good? Thomas Schall wrote: > I have played the instruments of that provenience at the musical fair > in Frankfurt two years ago. And I found them not any good and rather > high priced compared to what you can get if you buy a student > instrument by builders like Renatus Lechner, Lucio Faria or most > recently by Renzo Salvador. Thank you! Lechner's student model prices in particular are almost the same as what that shop is charging, but there is obviously a world of difference between the two, so it becomes quite pointless to purchase the faceless, nameless shop instrument. And Salvador's student model is relatively expensive but also rather "deluxe" as student models go, so it also could be a tremendous value. By the way, is Lucio Faria spelled correctly? I could find nothing online. With gratitude to all, Chris Witmer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Does anyone know if this instrument is any good?
I have played the instruments of that provenience at the musical fair in Frankfurt two years ago. And I found them not any good and rather high priced compared to what you can get if you buy a student instrument by builders like Renatus Lechner, Lucio Faria or most recently by Renzo Salvador. Just my 2 cent Best wishes Thomas -Ursprüngliche Nachricht- Von: van Geest Gitaar & Luitbouw [mailto:[EMAIL PROTECTED] Gesendet: Samstag, 5. August 2006 08:49 An: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Does anyone know if this instrument is any good? The quality of the 8-course lutes is neither good or bad. In the past, the first paki-lutes ( as I call them) we're terrible, but they seem to have learned a lot in time. Expect a sturdy build student lute that does need a little set up. Maybe even a change of tuning pegs and a new set of frets and if you realy want the job done, a few adjustments to the pegbox and bridge/nut too. But, let this be carried out by a luthier (or if you're handy yourself) it wont cost you a lot. Maybe like 200 euro extra, but if you look carefully you can find those lutes on Ebay very cheap sometimes. Just don't expect to get a master instrument, not even a student lute build by a luthier. Compare it like cheap guitars and luthier guitars. If you don't want to spend a lot the first time just try it out. EJ Ernstjan van Geest - Luthier van Geest Gitaar & Luitbouw - Hasselt, Belgium www.vangeest.be 011 / 43.77.71 -Oorspronkelijk bericht- Van: Christopher Witmer [mailto:[EMAIL PROTECTED] Verzonden: zaterdag 5 augustus 2006 6:14 Aan: lute@cs.dartmouth.edu Onderwerp: [LUTE] Does anyone know if this instrument is any good? http://www.folkfriends.com/index.html?lauten.htm Frankly speaking, the instruments shown on this page do not inspire much confidence, and they seem to be priced accordingly. But at the very bottom I see they have a large bass lute for 2200 Euros, much more expensive than any other "lute" they carry. I'm inclined to expect more of such an instrument based simply on the higher price, but I am curious to know if anyone on the lute list is at all familiar with it. Perhaps it might be a nice student lute . . . nylon strings. Thanks for any opinions, comments, advice, etc.! Chris Witmer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Strings for chitarrone
Hi, I would give the newly developed semi-rectified gut strings by aquila a try. I already had the chance to play them and they seem promising. I don't know th eprice yet but the strings seem to be very good. -Ursprüngliche Nachricht- Von: Daniel Josua Koenig [mailto:[EMAIL PROTECTED] Gesendet: Freitag, 4. August 2006 23:29 An: lute@cs.dartmouth.edu Betreff: [LUTE] Strings for chitarrone Dear Luthfriends, I have build a Chitarrone of 14 courses and a stringlengh of 78cm and 160cm. Now my question is what kind of strings to put them. I was thinking to put him gutstrings and for the basstrings maybe braided gutstrings. Ore would it be better to put synthetical strings? I would be thankfull if everybody can recomend me what could be good, if you prefer aguila o pyramid etc. Thanks and regards Daniel -- Echte DSL-Flatrate dauerhaft für 0,- Euro*. Nur noch kurze Zeit! "Feel free" mit GMX DSL: http://www.gmx.net/de/go/dsl 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
I spoke with Markus Dietrich who visted a talk bei Benno Scheu. Actually it seems to be very interesting but not as sensational as the LF site makes us believe. -Ursprüngliche Nachricht- Von: Bernd Haegemann [mailto:[EMAIL PROTECTED] Gesendet: Montag, 31. Juli 2006 09:59 An: Howard Posner; Roman Turovsky Cc: lute@cs.dartmouth.edu Betreff: [LUTE] Re: Liuto Forte >>> The LF modifications are not nearly as drastic. The main being the >>> idea of gut frets absorbing vibration, while metal ones reflecting >>> it. As I recall the LF barring sistem is basically baroque. >> >> site; they may be exaggerating the level of their "innovation." > In fact, that's the general opinion. May I cite: " In particular, the LIUTO FORTE sounds extremely well in big halls and has a strikingly powerful resonance. Both of these features are due to the application of a secret discovered by Benno Streu concerning the combination of woods used in the heyday of lute- and guitar making." What could that secret be?? best wishes Bernd To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
