David,
Thank you very much for sharing these videos. You claim to be a
beginner on baroque lute, but you sound very stylish and
mature. Your rhythm, phrasing, and style are absolutely beautiful!
Congratulations.
I must also say, that my favorite model for a baroque lute is
Burkholtzer, and
Benjamin Narvey tells me that the Conradi pieces have a maximum
effect for a minimum of effort (quite a French notion of elegant
economy really). They are indeed beautiful. Yet, my preferred French
pieces remain the earlier Gallot (etc) which tend to shun the top
register and pl
On Sun, Jan 10, 2010 at 2:26 PM, Daniel Shoskes wrote:
> Ichi Ban! Apart from the chaconne, I've been intimidated by the
> interpretive challenges of Weichenberger
Arigatou!
Actually, I started with Weichenberger on my new lute, as I found it
to be not too challenging technically.
David
Ichi Ban! Apart from the chaconne, I've been intimidated by the
interpretive challenges of Weichenberger, especially as Anthony
suggested, with holding the structure together rhythmically on the
repeats. There really is a fascinating and under recorded literature
that sits between th
I will send that again, via my Yahoo mail. I don't understand why the
messages from one of my mail addresses gets garbled on the LSA list
with added signs, corresponding to the line spaces (and also has a sort
of ginger-bread man emblem appears); while the other has all its
paragrag
Yes, I have been using a metronome, and intuitively thinking of the
ornaments as divisions, but I did not think of playing the ornaments by
themselves. I will definitely give that a go.
Yes, it is often quite difficult to play at half measure, a little like
slow motion walking, but i
On Sun, Jan 10, 2010 at 11:54 AM, wrote:
> problem I have been finding most difficult is fitting the ornamentation in
> with the basic rhythmic structure.
Write the ornaments out in rhythm. Start simple: two eight notes to
divide one quarter. Or a quarter and and eight note to dive a dotted
quar
Very nice David! Two of the pieces, the Allemande in d-moll, and the=
Courante in d-moll
are pieces I am actually working on at the moment; so I am very happy
to h= ave your interpretation.
Of course I do have the recording by Satoh, whi= ch I have listened to
at various speeds to
Like Arto, I have fallen for an 11-course.
Mine is made by Richard Berg, after Burckholtzer/Edlinger.
It's 68cm and strung, naturally, all-gut with Gamut Pistoys on the basses.
Last Wednesday I had my first concert, all music by Weichenberger, and
here are the clips I made yesterday:
Chaconne in a
