On Sep 5, 2011, at 6:57 PM, Mathias Rösel wrote:
Sorry, no pun intended, but what do you mean by musical?
Let me put it this way: I like to think of a piece of music as
telling a story. Any accomplished storyteller knows that a well-told
story has to have certain elements at work in it,
On Sep 6, 2011, at 4:22 PM, wikla wrote:
Well David, here is a story that fits to any slow baroque piece (it
was
originally told to me and a recorder player about 20 years ago by
Han Toll
in Urbino courses, the piece was by Hotteterre, if memory serves):
An old man is sitting in the
pretty well come up with a picture in my mind
as to how the other pieces in the suite should sound, but the
Allemande defeats me so far. Does anyone have any suggestions as to
how to approach this piece in order to make it sound as musical as
possible?
Thanks in advance
David R
To get
continuo theorbo. Does anyone know if these continuo
theorboes were single-strung?
David R
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On Sep 1, 2011, at 4:51 PM, Mathias Rösel wrote:
Denis Gaultier was so highly respected as lute player
and composer that the very text of his music was set down ... well,
yes,
once and for all. He doesn't serve as a model for those 17th century
liberties that you claim, I'm afraid.
Well
written.
Oh, and you'll be fined $250 for that false (or missing) information
in your Lacey Act Import Declaration.
I wonder if the current furor regarding illegally-supplied rosewood
and ebony might be a concern to lutemakers and their international
clients. Just saying...
David R
On May 31, 2011, at 10:08 AM, Martyn Hodgson wrote:
Also see my correspondance with Bailes in recent issues of Lute
News on
the sizes of French lutes c.1670: the evidence (iconography, early
measurements - especially the Talbot MS, extant instruments)
indicates that a string
