Rob wrote:
a moot one. Bach did not write his continuo basses for a member of the
lute
family. <<<
Yes, of course, David. That is understood. I was just speculating what one
could contribute to a reading of the Art of Music and A Musical Offering,
neither of which require continuo support. I
>
> >>>Apart from the fact that it is fun to speculate one these matters, and
> good
> for us continuo pluckers to find practical answers, perhaps the question
> is
> a moot one. Bach did not write his continuo basses for a member of the
> lute
> family. <<<
Yes, of course, David. That is unders
Boston Early Music Festival
"An astounding assortment of concerts." - The New York Times
Paul O'Dette, lute
Ellen Hargis, soprano
Music of the Italian Baroque
Works by Strozzi, Scarlatti, Cesti, Piccinni, and Kapsberger
Friends and colleagues for over 25 years, Ellen Hargis and Paul
Dale,
I made both my instruments: the smaller in D based on the Stautinger of 1773
and the large single strung continuo one in A on an instrument by Edlinger in
Prague. I'm not making for others any more but concentrating on research,
playing and directing.
David Van Edwards mak
Sterling,
Still some debate here. The very early (say late 17th/early 18th C) gallichon
(ie tuned in A string length in 90s) does seem to have been differentiated from
the mandora (in D string length in 60s/70s) at that time. But towards the mid
18th C as the smaller instrument became more
Yes, my view is indeed that the gallichon/mandora (both the A and the D/E
size) always used overwound strings and were perhaps even developed especially
to make use of these, then newly invented, strings. I'm afraid tho' that this
is pure speculation since I've no evidence for it other than
Anthony, I usually have to do quite a few takes before I can get
one that doesn't have any gross mistakes in it. One thing that
helps me is to think that if I make a mistake on this take, I can
just erase it and do another. That seems to take some of the
pressure off. I have only played in
Mimmo sent me an interesting idea. He agreed that I could forward it to you
guys. I think Martyn holds a similar position?
Rob
Silk bass strings like the 19th c guitars Rob. My point of wiwe of course
This is why I think that the Gallicone was so suitable on bass line and
powerful. My idea is t
Rob wrote:
I've just been thinking about Bach's bass lines (not the lute/violin/cello
suites) and the impossibility of playing them as written on either a
baroque
lute (either swan or bass rider), an Italian theorbo or a German Continuo
theorbo - only the Gallichon seems capable, and even then
I had a chance to play a mandora\gallichon for the first time last summer at
the lute making workshop with David Van Edwards. Of course, I also had a hand
in making it too:) It was fun to play and Martyn was kind enough to send over
some mandora music for us to try out on the instrument. Not sur
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