[LUTE] Correction
Just when you think you got it right, you find something even better: Using the old form "Kamod" yields even more convincing results, so far as to consider the Sonata only half of the intended music, the other half supplied by improvising Indian concerto voices. The combination is nothing less than "jazz" in the best sense. https://soundcloud.com/tristan-von-neumann/christian-herwich-sonata-la-chilana-raga-kamod-pt-ronu-majumdar To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Correction
Mistake in previous email: the LLD Baroque is 13 c not 11 c. Michael -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Correction to Re: Classical Guitar Music in Tablature
On reflection, the first sentence of mailing below should better read: 'Well, not for the contemporary (ie early 19th century) 6 string guitar as such'. Tho' even this needs to be qualified since there are a few contemporary tablatures for 6 course guitar. For example those by Ferandiere MH --- On Tue, 23/4/13, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: Re: [LUTE] Classical Guitar Music in Tablature To: lutelist Net Lute@cs.dartmouth.edu, Edward Chrysogonus Yong edward.y...@gmail.com Date: Tuesday, 23 April, 2013, 8:57 Well, not for the 6 string guitar as such. But the 18th/early 19th century 6 course mandora/gallichon was mostly tuned in the identical intervals (and by this date at the same nominal pitch with first course at e') as the 6 string guitar and its music was mostly intabulated so you can play that if you don't wish to learn staff notation. Chamber works such as those by Zincke are very close to similar pieces from the period by von Call, Kuffner, Molitor et al. MH --- On Tue, 23/4/13, Edward Chrysogonus Yong edward.y...@gmail.com wrote: From: Edward Chrysogonus Yong edward.y...@gmail.com Subject: [LUTE] Classical Guitar Music in Tablature To: lutelist Net Lute@cs.dartmouth.edu Date: Tuesday, 23 April, 2013, 4:36 Chaps, just a random silly thought. There're plenty of classical guitar players who play lute music in CG transcriptions, but does the reverse exist? Obviously those who're CG players can play on the lute directly from the CG staff notation, but for those of us who don't play CG, do lute tablature editions of CG music exist? I find some of the Sor stuff quite pretty, but can't be bothered to learn CG notationaEUR| Edward Chrysogonus Yong [1]edward.y...@gmail.com To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://us.mc817.mail.yahoo.com/mc/compose?to%c3%adward.y...@gmail.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Correction! to Re: Lute size and set-up was Re: What makes a good lute?
CORRECTION For As far as I am aware, there is historical information about this matter read As far as I am aware, there is no historical information about this matter mhls Martyn --- On Wed, 11/4/12, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: [LUTE] Re: Lute size and set-up was Re: What makes a good lute? To: lute lute@cs.dartmouth.edu, Anthony Hart resea...@monsignor-reggio.com Date: Wednesday, 11 April, 2012, 16:26 Dear Anthony, As far as I am aware, there is historical information about this matter and, clearly, extant instruments will have deformed over time so that modern drawings (even if wholly accurate) may tell us little about what the original maker was aiming for. But since you asked for views here are mine. The uppermost pegbox nut needs to be disposed so that there is indeed a clearance of the low basses at the principal nut otherwise, unless the most gentle stroke is employed, these strings will rattle against the fingerboard. The precise amount of clearance is debatable: on one theorbo (double re-entrant 92 cm fingered/170 basses - all single) at the principal nut I have a clearance of the low basses above the fingerboard at around 6mm - but less may be possible if playing gently and more may be desirable if the play if very forceful or if the player is causing the string to vibrate too much up and down rather than from side to side. But note that this clearance is after the neck has come up as a resulting of bringing the instrument up to tension. - over time this pull-up increases and adjustments need to be made to the upper nut to maintain the clearance. On my smaller theorbo with just the first course down (76cm double fingered/145cm single basses) I see I also have around 6mm. And on my own 14c liuto attiorbato (sadly little played) with 7 octaved basses of 93cm and 7 fingered of 64cm I currently have a clearance of 5mm but recall it was set finer when first made and, being much shorter and comparatively stiffer than a theorbo upper neck, it has pulled up very little over time. Others may have different views depending on their own preferred clearances rgds Martyn --- On Wed, 11/4/12, Anthony Hart [1]resea...@monsignor-reggio.com wrote: From: Anthony Hart [2]resea...@monsignor-reggio.com Subject: [LUTE] Re: Lute size and set-up was Re: What makes a good lute? To: lute [3]lute@cs.dartmouth.edu Date: Wednesday, 11 April, 2012, 10:51 whilst on the subject of lute set up, I have a question of the action of the bass courses of a 14c Liuto attiorbato. I have found several suggestions concerning the ideal height of the bass strings above the finger board. 1. The strings should be about 5mm at the lower nut. 2. The strings should be in the same plane as the stopped strings. From observation from drawings: 1. A drawing of the 1639 Sellas instrument (upon which my instrument is based)by Robert Lundberg the top nut appears to be slightly lower than the line of the finger board. Also the upper nut appears to have a slight curve, as with a violin bridge, making the lowest course slightly lower than the preceding ones. 2. A drawing of the Railich instrument shows the line of the bass courses higher than the stopped ones. These observations are based on the thumbnail views from the appropriate websites so exact measurements not possible. Any other ideas? Many thanks Anthony David, Clearly the overall size of an instrument and things like string spacing are relevant to the ease of playing. But if a player struggles with a particular size and/or specification of lute, before jumping to erroneous conclusions it's important to see if the player's posture and hand position/technique are not the real culprits. Regarding the 'wrong' size instrument: a player may seem to struggle with a larger instrument than that they are used to simply because they are holding it an unsuitable/inappropriate manner - rather that their arms/hands are intrinsically incapable of the stretch required. For example, if a player holds a large lute instrument as a modern 'classical' guitar (ie cradled low down in the lap and at a relatively low angle to the ground) they may find left arm stretch difficulties which can readily be overcome by adopting a posture with the instrument
[BAROQUE-LUTE] Correction - Edition of the Weiss Rohrau manuscripts
Sorry for again advertising the edition, but unfortunately I have forgotten to change one date: 150 EUR after June 1st 2010 (members of the German lute society still get 20% reduction). should be read as: 150 EUR after July 1st 2010 (members of the German lute society still get 20% reduction). Best regards Markus Dear members of the baroque lutelist, in the next weeks the Deutsche Lautengesellschaft will publish the facsimile edition of the two Rohrau lute manuscripts. As the subscription time has been extended to July the first, I want to give you notice of this. The edition Lautenmusik aus Schloss Rohrau (lute music from Schloss/castle Rohrau) will be a high-value edition in one volume with more than 260 pages of tablature in facsimile, cloth binding with stamping and thread stitching. It will also contain a comprehensive scholarly commentary in German by Michael Freimuth, Frank Legl and Markus Lutz, including a list of incipits and concordances. A preview with lower resolution can be seen under: http://www.slweiss.de/RohrauPreview.pdf (6 MB). Prices for subscription: 100 EUR for members of all lute societies before July 1st 2010 120 EUR before July 1st 2010 150 EUR after June 1st 2010 (members of the German lute society still get 20% reduction). The prices do not include postage and packing. Please send your subscription to: Deutsche Lautengesellschaft, e.V. Herrn Matthias Schneider Sandplackenstr. 13 D-60488 Frankfurt/Main, Germany Below you will find more details on the edition. Best regards Markus Lutz In 2004, the curator of the collection, count Arco-Zinneberg, came across seven manuscript books that were preserved together with the art collection. Among them were two lute tablatures. Christoph Angerer, musical director of the ensemble Concilium musicum Wien, and Michael Freimuth, who is the lutenist of the ensemble, were called in and soon realized the value of the find, particularly of the lute tablatures. The first volume (Weiss Sylvio - Lautenmusik) mostly contains works by Sylvius Leopold Weiss, among them eleven suites of several movements that have been previously unknown, one complete lute duet in four movements, and the suite in A that has so far survived as solo music, but here is in the form of a trio for violin, lute and bass. The title of the second volume, Lautenmusik von unbekannten Componisten (lute music by unknown composers) was obviously caused by the scribe’s ignorance of the music, since already as many as four suites could be ascribed to Weiss by concordances. Other suites in the collection are composed in a style that is quite similar to Weiss’s style as well. Quite unexpectedly, the volume also contains four pieces for lute in renaissance tuning, notated in Italian tablature. The present volumes, comprising more than 260 facsimile pages, bridge a gap in the group of sources of lute music by Weiss, complementing other Weiss manuscripts in London and Dresden, as they mainly contain pieces of his early creative period. The two manuscripts in Rohrau contain a total number of 157 movements for the lute, organized in 26 suites or suite-like sequences. Without doubt, these volumes are of the highest significance both for active lute players and for scholars. Please send your subscription to: Deutsche Lautengesellschaft, e.V. Herrn Matthias Schneider Sandplackenstr. 13 D-60488 Frankfurt/Main, Germany I subscribe to the facsimile edition of the two Harrach-Weiss volumes: Name, given name: Street, house number: Zip code, town, and country: I’m a member of the following lute society: Date, signature: -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Correction - Edition of the Rohrau manuscripts (Weiss et al.)
Sorry for again advertising the edition, but unfortunately I have forgotten to change one date: 150 EUR after June 1st 2010 (members of the German lute society still get 20% reduction). should be read as: 150 EUR after July 1st 2010 (members of the German lute society still get 20% reduction). Best regards Markus *** Dear members of the lutelist, in the next weeks the Deutsche Lautengesellschaft will publish the facsimile edition of the two Rohrau lute manuscripts. As the subscription time has been extended to July the first, I want to give you notice of this. A preview with lower resolution can be seen under: http://www.slweiss.de/RohrauPreview.pdf (6 MB). The edition Lautenmusik aus Schloss Rohrau (lute music from Schloss/castle Rohrau) will be a high-value edition in one volume with more than 260 pages of tablature in facsimile, cloth binding with stamping and thread stitching. It will also contain a comprehensive scholarly commentary in German by Michael Freimuth, Frank Legl and Markus Lutz, including a list of incipits and concordances. Prices for subscription: 100 EUR for members of all lute societies before July 1st 2010 120 EUR before July 1st 2010 150 EUR after June 1st 2010 (members of the German lute society still get 20% reduction). The prices do not include postage and packing. Please send your subscription to: Deutsche Lautengesellschaft, e.V. Herrn Matthias Schneider Sandplackenstr. 13 D-60488 Frankfurt/Main, Germany Below you will find more details on the edition. Best regards Markus Lutz In 2004, the curator of the collection, count Arco-Zinneberg, came across seven manuscript books that were preserved together with the art collection. Among them were two lute tablatures. Christoph Angerer, musical director of the ensemble Concilium musicum Wien, and Michael Freimuth, who is the lutenist of the ensemble, were called in and soon realized the value of the find, particularly of the lute tablatures. The first volume (Weiss Sylvio - Lautenmusik) mostly contains works by Sylvius Leopold Weiss, among them eleven suites of several movements that have been previously unknown, one complete lute duet in four movements, and the suite in A that has so far survived as solo music, but here is in the form of a trio for violin, lute and bass. The title of the second volume, Lautenmusik von unbekannten Componisten (lute music by unknown composers) was obviously caused by the scribe’s ignorance of the music, since already as many as four suites could be ascribed to Weiss by concordances. Other suites in the collection are composed in a style that is quite similar to Weiss’s style as well. Quite unexpectedly, the volume also contains four pieces for lute in renaissance tuning, notated in Italian tablature. The present volumes, comprising more than 260 facsimile pages, bridge a gap in the group of sources of lute music by Weiss, complementing other Weiss manuscripts in London and Dresden, as they mainly contain pieces of his early creative period. The two manuscripts in Rohrau contain a total number of 157 movements for the lute, organized in 26 suites or suite-like sequences. Without doubt, these volumes are of the highest significance both for active lute players and for scholars. Please send your subscription to: Deutsche Lautengesellschaft, e.V. Herrn Matthias Schneider Sandplackenstr. 13 D-60488 Frankfurt/Main, Germany I subscribe to the facsimile edition of the two Harrach-Weiss volumes: Name, given name: Street, house number: Zip code, town, and country: I’m a member of the following lute society: Date, signature: -- Markus Lutz Schulstraße 11 88422 Bad Buchau Tel 0 75 82 / 92 62 89 Fax 0 75 82 / 92 62 90 Mail mar...@gmlutz.de To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] correction in Dowland's Sleep, wayward thoughts
That is, if you don't think it's sacrilege to correct what is in my eyes a printer's or writer's error. Judge for yourself at my website www.davidvanooijen.nl Click your way to Writings and then to Dowland Puzzles. Or use this direct link: http://home.planet.nl/~ooije006/david/writings/dowpuz_f.html The thing about these corrections is that as long as you play the songs as solo songs, you might never notice them. And often you don't play the songs in 4-part settings till you're really used to the lute parts as you know them, possible mistakes and all, so by then it's hard to judge objectively. I find this true for myself; I have become attached to some of the errors and do not easily part with them. Not just in Dowland songs, by the way, but in other music, too. 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] Correction in Dowland's Sleep, wayward thoughts
Dear Davids (Taylor and Van Ooijen), I spotted the one in Sleep Wayward Thoughts some months ago while preparing for a concert. In the past I had always accepted the lute tablature as gospel, and happily accompanied singers with just the lute. When a bass viol was added in rehearsals for this particular concert, the discrepancy immediately became apparent, and I adjusted my part. Yes, one can feel very uncomfortable changing something one has played for decades, but it has to be done. Other discrepancies to look out for are between different editions. For example, just after the time change in His Golden Locks, there is a slight, but significant difference between the 1597 and 1613 editions. When rehearsing once with a singer, we both kept saying that the other was wrong, until I suggested comparing the music we each had. A slight adjustment to the lute part is necessary towards the end of Campion's well-known It fell on a summer's day. It's easy to miss, but the lute part needs adjusting to avoid a clash of C and B. I believe strongly that we need to look at lute music as music, and be prepared to make changes where necessary, bearing in mind things like consecutive fifths and octaves, voice-leading, imitation, harmony, and so on. Editing involves more than just copying music out neatly without any critical appraisal. Dowland's Lachrimae is interesting. There is an augmented second in the version for five viols/violins and lute, but it has to stand. Best wishes, Stewart McCoy. -Original Message- From: David Tayler [mailto:[EMAIL PROTECTED] Sent: 22 October 2008 22:22 To: lute-cs.dartmouth.edu Subject: [LUTE] Re: correction in Dowland's Sleep, wayward thoughts David's correction fixes another mistake, which is that as written, the two lower parts create a direct ocatve approached by double skip. I would add the opening of the Lachrimae solo to the puzzle list, as the parallel fifths in the opening bar--which are on every recording--are not present in Dowland's version in Lachrimae or seven tears. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
