On Dec 3, 2011, at 1:57 AM, Martyn Hodgson wrote:
> Thank you for this Howard and for your time.
And thank you for restating what you'd already written. Since I've already
responded to it, I'll spare the list further comment.
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> I suppose it is worth mentioning in this context that Cabezon and
Henestrosa's
> keyboard music was for "tecla, harpa y vihuela", so keyboard players,
harpists
> and vihuela players were all expected to play from the same notation,
which is a
> form of tablature.
Hate to object, but organ tablat
I more than agree with Hill, without albionic understatements.
Contertenors were never really statistically prevalent, and good ones even
fewer.
Alfred Deller was a great musician first and a countertenor second.
Most countertenors that came in his wake are simply irritating.
I am certain the ci
Thank you for this Howard and for your time.
My starting point in any discussion on performance practice is a
belief that the performance should respect the composer's intentions
(to the best of our present knowledge) and thus what auditors expected
to hear. The range requirements
Dear Arthur,
I suppose it is worth mentioning in this context that Cabezon and
Henestrosa's keyboard music was for "tecla, harpa y vihuela", so
keyboard players, harpists and vihuela players were all expected to play
from the same notation, which is a form of tablature. As you know, there
is a lit
