Go with a new set of gut strings.
- Original Message -
From: "sterling price"
To: "baroque lute list"
Sent: Monday, November 28, 2011 8:15 PM
Subject: [BAROQUE-LUTE] A=392
Hi-
Today I just recieved back a lute I had sold 3 years ago, a Larry Brown
Edlinger at 75.5 cm. When I ha
I also prefer my banjos to sound like banjos. I just did a little Listerine
swish. That ok?
- Original Message -
From: "Rob MacKillop"
To: "Dale Young"
Cc: "BAROQUE-LUTE"
Sent: Friday, October 21, 2011 3:46 PM
Subject: [BAROQUE-LUTE] Re: Bocquet vids
and we do have those moveable frettes to assist in mediating the most
egregious of out-tunation issues...until we can replace the offending
string.
I can no longer tolerate the banjo-esque timbre of nylon and over-spun bass
strings, except in the hands of a very few exceptional players. Gut and
Hi Bill,
This is my interpretation of "baroque" lute right hand approach...
You need to differentiate between French and German lute style, pre-1710,
post 1710 (give er take 10) Pre-Weiss/Logy, post-Weiss/Logy.
French lute will notate thumb all the way up the chanterelle, probably for
the
Ziv,
If it's French Classical Era lute music (17th century), which I believe
it is, those signs could mean strumming either up or down with the right
index finger as was done on guitarre and theorbe. Since the french
lutenists, as opposed to theorbists, didn't ever use the right ring finger,
Falckenhagen's are the best polonaises on lute. Sometimes tuneful opening
melody, sinister second molody, and a fun, catchy idiomatic "hook".
Sometimes they are just gutsy, stridant, rhythmic romps. They are the
essence of the galant partita.
- Original Message -
From: "Jean-Daniel Forg
Some odd pieces in Augsburg. Seems like the Saxons and the Silesians were
keen on them...Weiss and his students. Friedmann Bach's are the best,
although decidedly not for lute.
- Original Message -
From: "Dale Young"
To: "BAROQUE-LUTE" ; "Roman Turovsky&
Kropffganss solos and trios , Straube in G,
- Original Message -
From: "Roman Turovsky"
To: "BAROQUE-LUTE"
Sent: Saturday, January 29, 2011 12:25 AM
Subject: [BAROQUE-LUTE] polonaises
A question to the Collective Wisdom:
What lute polonaises do we have, aside from Baron, Weiss-Mos
Bernd is correct. This piece is published in das Erbe Deutscher Musik,
volume 2. It goes up to the 9th fret on 4th string for the high note and
features a fingered 3 note chord with the highest note on the 6th string.
Low-down sound.
Dale
- Original Message -
From: "Bernd Haegemann"
I think we are looking for something that is more descriptive of the music
rather the instrument.
- Original Message -
From:
To:
Sent: Tuesday, November 23, 2010 11:14 AM
Subject: [BAROQUE-LUTE] Re: Post French and Pre Weiss: what shall we call
it?
How about just calling it "late
There is a rumour that a gallichon works well for the Bach aria. I don't
know which pitch it should be tuned to. They came in so many sizes,
A,C,D,E. One of them would have worked. They were used in churches to help
drive the rhythm. They look sorta like lutes, right? And they were
notoriously
Kohaut requested sordini for middle movements and the entire Divertimento in
Bb, one of two printed examples of lute ensembles with violin. ( I can't
remember if Ph. Martino suggested sordini or not for his fiddle trios) Many
have suggested that violins were quieter and/or players were accustome
I'm quite sure that the Kleinknecht, Pfeiffer, as well as the works in
Augsburg by Toeschi, Haydn, Locatelli, Giardino, Arne, Seckendorf, Sollnitz,
Ruge, Kehl, Steinmetz, and Geminiani, were arrangements for lute by Hagen,
Falckenhagen, Kohaut, Durant, or Friederica SofiaWillemina, of existing
Froberger? Downstairs then left.
- Original Message -
From: "Roman Turovsky"
To: ; "G. Crona" ;
"Christopher Wilke" ; "Dale Young"
Sent: Saturday, October 23, 2010 10:03 PM
Subject: Re: [BAROQUE-LUTE] Re: Galant definition
All self-expressi
Empfindsamkeit is one of the first and boldest expressions of self, to the
point of narcissism, in artistic expression, especially Muthel, one of my
favorites of the era. All of J.S. Bach's students were emboldened by their
skill and knowledge,and allowed the freedom by the circumstances of the
More etymology than definition:
Toward the end of the "Pre-Galant" era (a.k.a. "Baroque" era), dance pieces
were added to the standard list of the Dance Suite movements ( Allemand,
Courant, Saraband, Gigue) such as the Menuet (and Trio), the Polonaise (very
important later), Anglois, Scherzo, e
Arto!
In support of your sublime offering of a Menuet by Losy, I offer one by Adam
Falckenhagen to emphasise that less can be more. When I play this well, not
quite this time, it is just the most sentimental, button-pushing piece of
music, brings a tear to the eye.
http://www.youtube.com/w
Here, Let me try.
"Galant" is the term people who lived in the period from roughly 1720
on to 1790 ( Telemann through Mozart) used to describe certain traits,
attitudes, and manners, associated with the cultured nobility, according to
Robert O. Gjerdingen in his book, Music in the Galant
I have a feeling that there may be a general lack of knowledge about his
oeuvre.
Perhaps if you could strum a few bars for us, it may spark a recognition.
Otherwise, It may be up to you to unearth these treasures.
Bergen, (Pergen) Ferdinand Graf von,
Three lute suites in French tablature are
pr
Arto,
So beautifully stated.
I have been absorbed in the study of the Augsburg Manuscript for 38 years
and it still fascinates me. Not unlike fractals, Mendelbrot sets, (god rest
his soul) the more intensely you focus, the more complexity you find. Many
players dismiss Falckenhagen's works
Arto,
Fret knot your awakened sensability. I too recently switched to gut
strings and can no longer tolerate the tinny, twangy sound of plastic
strings in recordings of any but a few very accomplished masters ( ie. Mr.
Barto). We learn to exude so much more sonority into gut than we ever co
nd the life for particularly long appogiaturas, something
also available to clavichordists.( now those are the real musicians)
Yes! There were exceptions to the rule. But! The rule stands. You may not
play the hiccup! The well thought-out Scotch snap or acciaccatura, ok. No
hiccup. Please.
Dear collective,
I want to know why lute players, in so many recordings,
realise appogiaturas in a way much different from other musicians. If
someone can point to a special book that gives us license to make that
disturbing hiccup noise instead of a "grace note" clue me in. I
Hagen used everything everywhere. of course, He was the technical apogee of
lute technique. p,i to the 7th course maybe even to the 8th. But that would
be the lute used as a musical instrument rather than an affected foppish
appendage.
- Original Message -
From: "Edward Martin"
To: "w
and the Cassation in Bb major in Brussels by Kropffganss it's Haydn's
quartette op.1 no.1
- Original Message -
From: "ziv braha"
To: "baroque-lute mailing-list"
Sent: Wednesday, March 03, 2010 5:44 PM
Subject: [BAROQUE-LUTE] Lute obligatto in Ensemble, Diplomarbeit
Dear all,
Ziv,
We now know that the Bb Major concerto in Berlin that you have
attributed to Kohaut is a version of the Concerto in Bb Major in Augsburg by
Pfeiffer.
Thanks for the list
dale
- Original Message -
From: "ziv braha"
To: "baroque-lute maili
I know you are all tired of me carping about poorly built instruments,
but I need some data. Could I get some responses from people who are
perfectly happy with their "action" to give measurement of the distance
from the top ( where your left-hand fingers first touch the string) of
f
As long as there are Republicans in the world there will be ever greater
"inegalite". But seriously folks, as time progressed, composers tended to
get more specific about notating their intentions. Convention and
generalised performance practice was written out more in galant era
because
with s
There is no-one to do alterations.
- Original Message -
From: "G. Crona"
To:
Sent: Thursday, January 28, 2010 2:59 PM
Subject: [BAROQUE-LUTE] Re: 13C Baroque Lute for Sale
But playable it would be (with minor alterations), no?
- Original Message -
From: ""Mathias Rösel""
I bought a copy of Ars Antigua Austria's recording called Karl Kohaut-
Haydn's lute player. It's wonderful. I was listening to the Bb Major
Concerto by Kohaut. It sounded familiar, but not like Kohaut. I went
through the B section of Augsburg Ms. and there it was. A
concerto attribut
Daube's 2 bar wisps too much for you?
- Original Message -
From: "Dale Young"
To: "BAROQUE-LUTE" ; "Roman Turovsky"
Sent: Wednesday, October 28, 2009 7:24 PM
Subject: [BAROQUE-LUTE] Re: Difference 13c.-11c. vs. 10c.-6c.?
Really!? French cl
VERY different, and 11c lutes were constructed with
the corresponding acoustical properties, also more flattering to the
French phrasing (short).
The same goes for the 13c- different tessitura, longer phrasing -
different acoustics.
RT
- Original Message -
From: "Dale You
I believe that it is possible to make 17c. french classic lute music sound
acceptable on an 18th c. german galant lute. It might be harder to
accomplish as it would require a different right hand. I think the musical
expression is more different than the instrumentation. One should run a
felt
There is the litho of the greatest lutenist/composer ever, Adam Falckenhagen
with his lute. I had always contented myself that the draughtsman had just
omitted all of the "redundant" strings for clarity. It clearly depicts a 13
STRING instrument. I am willing to let go of this dogmatic stance an
es in a
lute-course. Healthier too.
RT
- Original Message -
From: "Dale Young"
To: ; "sterling price"
Sent: Sunday, October 25, 2009 6:38 PM
Subject: [BAROQUE-LUTE] Re: B-lute 6th course, with octave or no?
h'aint we just something precious then?! Life is
How many beers do I owe you now? We have to get together...in N-york.
- Original Message -
From: "Roman Turovsky"
To: "BAROQUE-LUTE" ; ;
"Dale Young"
Sent: Sunday, October 25, 2009 6:34 PM
Subject: 2 egg updates
A SARABANDE from Händel's Almira,
B-lute 6th course, with octave or no?
To: "BAROQUE-LUTE"
Date: Saturday, October 24, 2009, 9:19 AM
I'm with Dale on this issue.
RT
- Original Message -
From: "Dale Young"
To: "wikla" ;
;
"Edward
Martin"
Sent: Friday, October 23, 2009 9:31 PM
Su
9:19 AM
I'm with Dale on this issue.
RT
- Original Message -
From: "Dale Young"
To: "wikla" ;
;
"Edward
Martin"
Sent: Friday, October 23, 2009 9:31 PM
Subject: [BAROQUE-LUTE] Re: B-lute 6th course, with octave
or no?
I still think that the 6th course i
24, 2009, 9:19 AM
I'm with Dale on this issue.
RT
- Original Message -
From: "Dale Young"
To: "wikla" ;
;
"Edward
Martin"
Sent: Friday, October 23, 2009 9:31 PM
Subject: [BAROQUE-LUTE] Re: B-lute 6th course, with octave
or no?
>I still think that t
I still think that the 6th course is used too often as a melody string for
that to be octave strung. When I hear the octave jump at the 6th in a
recording, I find it annoying for anything after 1730. Just let the basses
start at the 7th...unless you're playing that old music...then who
cares...
I saw a copy in Christian Weyrauch's dustbin!
- Original Message -
From: "Duncan Midwinter"
To:
Sent: Sunday, August 16, 2009 5:35 PM
Subject: [BAROQUE-LUTE] bach cello suite bwv 1007
Is there an arrangement of Bach's Cello Suite (BWV 1007) for baroque
lute, and if so does anyon
It's a 13 course lute. It has 24 pegs. The engraver didn't want to muddy up
the print with the double courses. I'm also quite sure the rose didn't look
exactly like that either.
Of course (single or double) he was composing! what with the tab paper, pen,
and ink. He was composing lute music...fo
Third time
- Original Message -
From: "Dale Young"
To: "lute-cs.dartmouth.edu" ; "baroque lutenet"
; "Benjamin Narvey" ;
"Dale Young"
Sent: Thursday, April 30, 2009 5:51 PM
Subject: [BAROQUE-LUTE] Re: Colascione
> maybe this&#x
maybe this'll get out there.
- Original Message -
From: "Dale Young"
To: "lute-cs.dartmouth.edu" ; "baroque lutenet"
; "Benjamin Narvey"
Sent: Thursday, April 30, 2009 3:25 PM
Subject: [BAROQUE-LUTE] Re: Colascione
> Don't know
Don't know if you got any secret links yet but here's one
http://musickshandmade.com/lute/facbooks/view/28 if you're looking for 6
string galant era music.
- Original Message -
From: "Benjamin Narvey"
To: "lute-cs.dartmouth.edu" ; "baroque lutenet"
Sent: Wednesday, April 29, 2009 4
It has been a constant source of inspiration,direction, and connection for
35 years for me. A treasure. I keep it around with my english translation.
No piece of music is easy (on the lute) unless you want to play it badly.
- Original Message -
From:
To:
Sent: Wednesday, March 18, 2
Thought it sounded familiar. A lot of basic thematic material was circulated
around. Is it from a keyboard solo? If so, which one? I've been enjoying
W.F.'s Polonaises on clavichord lately.
Speaking of Falckenhagen...I am now listening to what I believe to be the
single most incredible piece of
Let's go through pictures and writings about who was playing which lute when
and see if we can come to any conclusion why. Maybe a musical style favoured
one instrument over the other.Maybe they were on contract for a builder who
preferred one.
From my memory (being what it is) : Baron 1720ish
C.P.E. Bach wrote that in the appogiatura, the dissonance should be held
AT LEAST half the value of the written note. Most preformers cheat on this,
making these "graces" sound more like annoying speach impediments. Even more
annoying, I also hear single comas played as trills. We all need t
Vieux Gauthier's Canarie in A . CNRS #52 Not too obscure or abstract. Not
too hard. 17c Windham Hill... only real.
Dale
- Original Message -
From: "Thomas Tallant" <[EMAIL PROTECTED]>
To: "Baroque Lute"
Sent: Wednesday, April 30, 2008 8:57 PM
Subject: [BAROQUE-LUTE
posner" <[EMAIL PROTECTED]>
To:
Sent: Sunday, April 27, 2008 3:11 PM
Subject: [BAROQUE-LUTE] Re: Kirnberger on lutes and temperament
On Apr 27, 2008, at 11:42 AM, Dale Young wrote:
It was, however, the time when the best music was written for
it, ever.
1779?
--
To get on o
- Original Message -
From: <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>;
Sent: Saturday, April 26, 2008 4:04 PM
Subject: [BAROQUE-LUTE] Re: Kirnberger on lutes and temperament
On 4/26/2008, "Roman Turovsky" <[EMAIL PROTECTED]> wrote:
In good English it might g
Martyn,
I want one! Who built yours? I've been circling this idea that a
gallichon is THE great, versatile continuo instrument for 18th century vocal
and instrumental music.
Any savvy rhythm guitarist could step into accompaniment nirvana once (s)he
adapted to the pitch variance.
Thanks Roman. I am honored again. You are welcome at mine as well. You are
an inspiration to us all.
Dale
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; "BAROQUE-LUTE" ;
"Dale Young
sage -
From: <[EMAIL PROTECTED]>
To: "Dale Young" <[EMAIL PROTECTED]>; "BAROQUE-LUTE"
; "Roman Turovsky" <[EMAIL PROTECTED]>
Sent: Wednesday, January 30, 2008 12:33 PM
Subject: Re: [BAROQUE-LUTE] Re: Chris Wilke > Straube
Dale,
--- Dale Young
rder this recording? I haven't been able to locate it or
previous message that mentioned it.
I have an old recording of the D major sonata played by Narciso Yepes on
guitar, I think he transposed it to E major for his 10 string. It would
be interesting to compare the two.
-David
On
..as Duke Ellington put it; "if it sounds good, it is good." I, for one who
only play post-baroque era lute music, think unison 6th course sounds just
fine. It's used often enough as a melody string to bother with fumbling
around picking half a course. Easier to add in a 3rd course when I feel a
Almost a lute. Just add 4 strings and you'll have a REAL one.
Dale
- Original Message -
From: "Edward Martin" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; "'BAROQUE-LUTE'"
Sent: Tuesday, November 20, 2007 7:36 PM
Subject: [BAROQUE-LUTE] Re: new 11c lute - pics
I am certain you
e list"
Sent: Sunday, April 01, 2007 2:51 PM
Subject: [BAROQUE-LUTE] Re: Pesne
> On Sunday, Mar 4, 2007, at 08:24 America/Los_Angeles, Dale Young wrote:
>
>>Thirteen equally spaced frets on the neck, abnormal, at least for
>> 18th
>> century west & central euro
t"
Sent: Sunday, April 01, 2007 2:51 PM
Subject: [BAROQUE-LUTE] Re: Pesne
> On Sunday, Mar 4, 2007, at 08:24 America/Los_Angeles, Dale Young wrote:
>
>>Thirteen equally spaced frets on the neck, abnormal, at least for
>> 18th
>> century west & central europea
rom: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Dale Young" <[EMAIL PROTECTED]>; "BAROQUE-LUTE"
Sent: Sunday, April 01, 2007 1:43 PM
Subject: Re: [BAROQUE-LUTE] Re: Pesne
> No, but I'd be anxious to.
> RT
> - Original Message -
>
That's it. Thanks! It's an 11 course. Great picture.
Now, do you know anything about a Fragonard painting that I've seen
linked with J. Kropffganss?
Dale
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "BAROQUE-LUTE"
I got to it somehow from the youTube preformance that you posted. Here's a
small version of the picture.
Dale
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Dale Young" <[EMAIL PROTECTED]>; "BAROQUE-LUTE"
Sent: Sunda
As for accuracy, I think there are a couple too many frets for reality.Which
makes the whole lute thing look more like a prop. She sure is cute. Too bad,
she's probably dead by now.
Dale
- Original Message -
From: "Ed Durbrow" <[EMAIL PROTECTED]>
To: "baroque lute list"
Sent: Saturday
New Age Galanterie
Dale
- Original Message -
From: ""Mathias Rösel"" <[EMAIL PROTECTED]>
To: "baroque Lutelist"
Sent: Friday, January 19, 2007 7:34 PM
Subject: [BAROQUE-LUTE] new sounds
> I've never before heard someone play music like this on the baroque
> lute.
>
> http://www.yout
- Original Message -
From: ""Mathias Rösel"" <[EMAIL PROTECTED]>
To: "BAROQUE-LUTE-LIST"
Sent: Thursday, January 11, 2007 11:33 AM
Subject: [BAROQUE-LUTE] Re: LesBarricadesMysterieuses...
>> I have made a basic transcription of Couperin's "Les Brricades
>> Myterieuses",
>
> That would
Completely playable without ring finger. A lot more movement of the thumb. I
think it's more gramatically correct too. But it is harder. A lot of easy
things are wrong, like watching television instead of practicing moving your
thumb all over the basses... which is what I did tonight. Guilty.
--
I have been exquisitely proven wrong. I love it! The website really works.
No one is as smart as all of us.
Mr. Barto, this may be the information you were seeking!
Dale
- Original Message -
From: "Martin Eastwell" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, January 10, 2007 4:41 PM
S
- Original Message -
From: ""Mathias Rösel"" <[EMAIL PROTECTED]>
To: "Barocklautenliste"
Sent: Tuesday, January 09, 2007 9:21 AM
Subject: [BAROQUE-LUTE] Re: 18th-century right hand fingering (short)
> "Markus Lutz" <[EMAIL PROTECTED]> schrieb:
>> The ring finger isn't demonic at all ;-
- Original Message -
From: ""Mathias Rösel"" <[EMAIL PROTECTED]>
To: "Barocklautenliste"
Sent: Tuesday, January 09, 2007 6:22 AM
Subject: [BAROQUE-LUTE] Re: 18th-century right hand fingering (short)
> "Dale Young" <[EMAIL PROTEC
Here are two examples of fingering technical issues that frequently present
themselves (and make my brain hurt):
1) a three note chord or arpeggio, diapason (thumb obviously), third
course (index obviously), first string, second or (satanic) third finger? Do
we learn to split and gauge our ind
-
From: "Dale Young" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; "BAROQUE-LUTE-LIST"
Sent: Sunday, January 07, 2007 6:17 PM
Subject: [BAROQUE-LUTE] Re: 18th-century right hand fingering (short)
>I believe that underlying all this is that we / I can become compla
I believe that underlying all this is that we / I can become complacent
about plucking with whatever finger happens to show up nearby the string.
That's not good enough.
Just a little attention to alternating fingers ( middle / index) and
always attempting to use the middle finger on
we're, apparently, clueless. But armed and dangerous.
- Original Message -
From: "David Rastall" <[EMAIL PROTECTED]>
To: "baroque Lutelist"
Sent: Wednesday, December 06, 2006 3:11 PM
Subject: [BAROQUE-LUTE] The Weapons Of Rhetoric
> Dear Baroque luters,
>
> Are any of you familiar with
According to the liner notes of the recording, the prelude is an
unattributed copy penned by Vaudry de Saizenay. I'd look in that manuscript.
Good luck.
- Original Message -
From: "Manolo Laguillo" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, October 18, 2006 5:07 AM
Subject: [BAROQUE-LUTE]
Got it. Thanks.
Dale
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Dale Young" <[EMAIL PROTECTED]>; "'baroque Lutelist'"
Sent: Tuesday, July 04, 2006 7:47 PM
Subject: [BAROQUE-LUTE] Re: how (art)historia
Several years ago, I bought a recording of Hasse's opera "Cleophide". Not
being an opera fan, I thought it would take months to work my way through
the 3 hours of music. I put it on the disc player and was so enthralled, I
listened to it straight through... and then listened to it again as soon
The Unbegun Symphony. What's not to like about that one...or hate
- Original Message -
From: "Daniel Shoskes" <[EMAIL PROTECTED]>
To: "Howard Posner" <[EMAIL PROTECTED]>
Cc:
Sent: Tuesday, May 16, 2006 1:58 PM
Subject: [BAROQUE-LUTE] Re: Weiss and Hasse
> Or indeed, the inspirational po
t "die". It just lost some weight and
became the "spanish guitar"of Scheidler, Sor and Guiliani.
Tempesta di Mare will be performing it more and I hope a recording will
follow so that more of you can hear it.
Dale Young
>
>
>
> ___
If you can get to Philadelphia next Friday or Saturday night, May 12 & 13,
Richard Stone and Tempesta di Mare are performing Toeschi's Concerto for
Lute, 2 Violins, 2 Horns, 2 Flutes, Viola, Cello, and Kitchen Sink
Obligatto. This may be a world premere. ( If anyone has solid evidence that
th
Ignore that last message.
> The even newer and improveder web access for Richard Stone and the
> Tempesta di Mare Baroque Orchestra, et al is the still, even more
> curiously titled:
>> www.tempestadimare.org/
> crikey!
>
>
>
>
> New World Permere
>>
>>
>>> News Flash!
>>> The Toeschi
The new, improved web access for Richard Stone and the Tempesta di Mare
Baroque Orchestra, et al is the curiously titled:
[EMAIL PROTECTED]
New World Permere
>
>
>> News Flash!
>> The Toeschi Concerto I announced that I was busying myself with
>> data
>> entering into Finale last fa
Sorry that's Tempesta di Mare.duh. just one.
- Original Message -
From: "Dale Young" <[EMAIL PROTECTED]>
To: "BAROQUE-LUTE" ; "Roman Turovsky"
<[EMAIL PROTECTED]>
Sent: Wednesday, April 19, 2006 7:25 PM
Subject: [BAROQUE-LUTE] Toeschi
News Flash!
The Toeschi Concerto I announced that I was busying myself with data
entering into Finale last fall...
Richard Stone with his equally talented, versatile, and sonorous
Tempesti di Mare orchestra have picked it up and run with it all the way to
Performance in Philadelphia
y is by Minkoff Reprint from 1982. I bought it from the Lute
Society of America hot off the press. Avoid Falckenhagen Opus 1. It will
make you crazy.
Dale Young
Dale
- Original Message -
From: <[EMAIL PROTECTED]>
To:
Sent: Tuesday, February 28, 2006 5:19 AM
Subject: [BAROQUE-L
http://www.inklingrecords.com/pre-order.htm
- Original Message -
From: "Peter Van Dessel" <[EMAIL PROTECTED]>
To:
Sent: Friday, January 27, 2006 3:52 PM
Subject: [BAROQUE-LUTE] Maginley CD
> In the latest issue of the LSA Quarterly (p. 41) there is a review of a
> new CD by Andrew Magi
Just this morning I scribbled out a Satie-esque version of Silent Night.
Brought a tear to my eye. Quite tender.--Dale
- Original Message -
From: "Benjamin Narvey" <[EMAIL PROTECTED]>
To:
Cc:
Sent: Sunday, December 04, 2005 5:38 PM
Subject: [BAROQUE-LUTE] Have yourself a lutey little Ch
On Sunday December 4, Noon, CBC stations will air a programme featuring Lucas
Harris of the ensemble Talelmusik, on lute, playing ( I think ) solos of S.L.
Weiss, and concerti of Hagen and Fasch. If you're within earshot of the
culturally advanced land to the north, ( web accessable everywhere)
Hey now!
One lute part could be identical to the one Charlie fleshed out and still
qualify as "complete duet found her for the first time". The operative word
being COMPLETE. So there! I'm with you Ed. --Dale
- Original Message -
From: <[EMAIL PROTECTED]>
To:
Sent: Thursday, November
Anyone heard John Schneiderman's latest works? As usual, he plays some stuff
way too fast ( Divertimento B-flat major Presto is a chaotic blur and Concerto
B-flat Major Allegretto is gracelessly quick ( allegrissimo).)
Everything else is KILLER I'm dancing to the Concerto A major Alleg
- Original Message -
From: Dale Young
To: Richard Stone
Sent: Thursday, October 20, 2005 12:37 AM
Subject: Weiss concerto hear'd.
Hi Richard,
Quick note. Your recording got airtime on Detroit's classical station, WRCJ
yesterday. Sounded better than my disc!? Is that pos
5 minutes Ed. It took you 5 minutes. Are you sweating yet?
- Original Message -
From: "Edward Martin" <[EMAIL PROTECTED]>
To:
Sent: Tuesday, October 11, 2005 7:35 PM
Subject: [BAROQUE-LUTE] Reusner (2)
> Sorry I found them all in the Fronimo files!
>
> ed
>
>
>
>
> Edward Marti
October 09, 2005 3:05 PM
Subject: [BAROQUE-LUTE] Re: Giesbert revisited
>
> Dear lutenists,
>
> first I write an off-topic comment (lute-wise) and the more on-topic.
>
> On Fri, 7 Oct 2005, Dale Young wrote:
>
>> I apologize for Dresden too. Horrible mistake.
&
ger and
> E. Klima did a very pioneering job by researching and saving a lot of
> lute music we're playing now. Even some manuscripts which were lost
> during that WW are copied by them, so we can still play it.
> sincerely yours
> Greet Schamp
> Belgium
>
> Greg Silverm
m not too familar with Giesbert. When was the book
>>written, and is it any good?
>>
>>
>
> Published in 1940, and you bet your bippy it's good. Some very nice
> pieces within that are accessible to even a rank beginner (such as
> myself).
>
>>Sterlin
outh. Edu"
Sent: Thursday, October 06, 2005 10:25 AM
Subject: [BAROQUE-LUTE] Re: Giesbert revisited
> Dale Young wrote:
>
>> I own a translation of the entire text. I might be able to scan it and
>> make copies available.-- Dale
>
>
> Wizzo! That would be
I own a translation of the entire text. I might be able to scan it and make
copies available.-- Dale
- Original Message -
From: "Greg M. Silverman" <[EMAIL PROTECTED]>
Cc: "[EMAIL PROTECTED] Dartmouth. Edu"
Sent: Wednesday, October 05, 2005 3:58 PM
Subject: [BAROQUE-LUTE] Re: Giesbert re
I still prefer my own handwritten tablature copies, but no way to preview on
computer without transcription.--Dale
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>; ; "Dale Young"
<[EMAIL PROTECTED]>
Sent:
I'm transcribing the lute part into Finale's "Harp" sound. An undesirable
but necessary task if I want to hear the concerto. Anyone working on a tab
player that will fit into the Finale program? I'm sure there would be
literally tens, maybe even hundreds of dollars to be made from the herculean
Ghostview sounds spooky. I'll Google it and see what happens.
I'll send a file with a midi version of the allegro con brio from
Kleinknecht's Concerto in C and the allegretto from Kohaut's Concerto in
B.--Dale
- Original Message -
From: "Roman Turovsky"
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