[BAROQUE-LUTE] Hobach Sinfonia Etc in Pll-Wn RM 4138 (olim Mf 2005)

Does any one know if the other instrumental parts of the Sinfonia (on page 46 of this MS) survive? And their whereabouts? And, even better if they have a band set they could scan or post a link to? -- I had, at first, thought it might be a solo piece and the title referred

[BAROQUE-LUTE] Re: Ask about using wood for fingerboard as ribs

Yes - And finish it with Stand Oil (ie linseed Oil which has already partly oxidised - NB not the modern chemically altered stand oil used nowadays by artists), This gives a fine satin sheen finish on the wood and dries hard but remains flexible. MH On Wednesday, 27 November

[BAROQUE-LUTE] Re: Wenzel Ludwig Edler von Radolt

Thank you for this Bernhard, Yes indeed, Von Radolt has interesting things to say to us. An earlier FoMRHI joint paper explores his instructions: Comm 737 Von Radolts instructions to lute players (,,,1701). [1]https://www.fomrhi.org/uploads/bulletins/Fomrhi-044.pdf This paper has

[BAROQUE-LUTE] Re: Johann Christian Hoffmann, 14 course swan-neck lute in Leipzig

Dear David, Yes indeed. And to add to your guesstimate about lutes, the number of extant mandoras/gallicons is only about 70 made between 1688 and 1780 (most are listed Dieter Kirsch 'La mandora au XVIII siecle'). Although their geographical area of production (and common use) was

[BAROQUE-LUTE] Re: Johann Christian Hoffmann, 14 course swan-neck lute in Leipzing

;da...@vanedwards.co.uk> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Cc: Luca Manassero <l...@manassero.net>; baroque-lute <baroque-lute@cs.dartmouth.edu> Sent: Tuesday, 13 February 2018, 14:21 Subject: [BAROQUE-LUTE] Re: Johann Christian Hoffmann, 14 course swan-neck lute in Leipzi

[BAROQUE-LUTE] Re: Johann Christian Hoffmann, 14 course swan-neck lute in Leipzing

Two other well known lutes by Johann Christian in the Brussels collection are fairly deep too, having a depth greater than half the width (roughly 0.57): Leipzig 1716 eleven course (M 1559): body length 495; width 323; depth 185 Leipzig 1730 thirteen course with bass rider (M

[BAROQUE-LUTE] Moravsky MS (CZ. Brno D 189) - life after death....

uot;mjlh...@tiscali.co.uk" <mjlh...@tiscali.co.uk> To: VihuelaList <vihu...@cs.dartmouth.edu> Cc: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Sent: Monday, 12 February 2018, 21:44 Subject: MS CZ- Bm D 189 - the Last Post Dear Martyn I am sorry to have denied you

[BAROQUE-LUTE] Regarding: Moravsky MS (CZ. Brno D 189) - weathering the storm!

sage you see fit to send. I may query this with Wayne if you persist. As ever Monica == From: Martyn Hodgson <[5]hodgsonmar...@cs.dartmouth.edu> To: "[6]mjlh...@tiscali.co.uk" <[7]mjlh...@tiscali.co.uk>;

[BAROQUE-LUTE] Re: Further to Re: Moravsky MS (CZ. Brno D 189) - a fresh tack! 2

@cs.dartmouth.edu> Subj: [VIHUELA] Re: Further to Re: Moravsky MS (CZ. Brno D 189) - a fresh tack! 2 From: Martyn Hodgson <[4]hodgsonmar...@cs.dartmouth.edu> To: "[5]mjlh...@tiscali.co.uk" <[6]mjlh...@tiscali.co.uk>; VihuelaList <[7]vihu...@cs.dartmout

[BAROQUE-LUTE] Further to Re: Moravsky MS (CZ. Brno D 189) - a fresh tack! 2

nt of your position? regards Martyn PS I copy this to the 'Baroque Lute' list since the mandora is a lute instrument - and a baroque lute to boot! === == - Forwarded Message - From: Martyn Hodgson &

[BAROQUE-LUTE] Moravsky MS (CZ Brno D189) - a fresh tack!

Dear Monica, As you now know, I haven't yet replied to your latest open mailings since these had both ended by saying that you 'were going to leave it for now' and I therefore took this as meaning I might soon expect something further. Accordingly, not wishing to respond in a

[BAROQUE-LUTE] Re: Even more to yet moRe: re. Moravsky Manuscript AND five course guitar stringing

- Forwarded Message - From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu> To: Monica Hall <mjlh...@tiscali.co.uk>; VihuelaList <vihu...@cs.dartmouth.edu>; Baroque Lute List <baroque-lute@cs.dartmouth.edu> Sent: Sunday, 14 January 2018, 16:

[BAROQUE-LUTE] Re: Moravsky Manuscript AND five course guitar stringing

Dear Monica, Comments on D 189 Moravske zemske muzeum We briefly discussed this interesting MS some four years ago - partly in the context of the placement of the octave strings on the fourth (and fifth) course of the five course guitar. I also recall posting something on Wayne's

[BAROQUE-LUTE] Re: Anthony Bailes paper in "The Lute" - and my holiday work

Dear Andreas, Henry is a shadowy figure to me amongst guitarists active in Paris at the time - do you have any information about him?. His Methode must have been reasonably popular since it's the 3rd edition and up against a great deal of competition in Paris at the time (1826) -

[BAROQUE-LUTE] [BAROQUE-LUTE] Re : [BAROQUE-LUTE] Re : [BAROQUE-LUTE] Baroque Lute Stringing

3ph...@cs.dartmouth.edu> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>; Martin Shepherd <mar...@luteshop.co.uk>; "baroque-lute@cs.dartmouth.edu" <baroque-lute@cs.dartmouth.edu> Sent: Friday, 3 February 2017, 20:45 Subject: [BAROQUE-LUTE] Re : [BAROQUE-LUTE] R

[BAROQUE-LUTE] [BAROQUE-LUTE] Re : [BAROQUE-LUTE] Baroque Lute Stringing

Dear Anthony, I may well have misunderstood the point you make 'and the extra diameter beyond the bridge behaving similarly to loading, but as though the loading were more of the same material' - surely the physical characteristics of a string largely determine the sound - else

[BAROQUE-LUTE] Re: Baroque Lute Stringing

Once again Mimmo, many thanks for all your efforts and for taking the trouble to listen to us out here! I much liked your old loaded gut and I still have some on various lutes (including the 6th course of a large theorbo where it smooths the transition to the long basses). Close to

[BAROQUE-LUTE] Re: Baroque Lute Stringing

: Mimmo <mperu...@aquilacorde.com> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Cc: Matthew Daillie <dail...@club-internet.fr>; Martin Shepherd <mar...@luteshop.co.uk>; "baroque-lute@cs.dartmouth.edu" <baroque-lute@cs.dartmouth.edu> Sent: Thu

[BAROQUE-LUTE] Re: Baroque Lute Stringing

Dear Mimmo, Thank you for your continuing efforts in manufacturing these strings. I agree with much of what has been said: - especially with Martin Shepherd about the unfortunate influence rose pluckers have had on stringing often leading to high tensions of overwound strings in the

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

__ From: G. C. <kalei...@gmail.com> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Cc: AJN <arthurjn...@verizon.net>; "chriswi...@yahoo.com" <chriswi...@yahoo.com>; "theoj89...@aol.com&

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

The book first belonged to Johanne Christine Hertzberg (1708 - 1801) and in my view was mostly compiled around 1740/50 but contains some works from late seventeenth century French sources. The music is also very similar to that by Nathanael Diesel in the large MS compilation held in

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

Henning has written about this book - I've no reason to doubt it. [1]http://folk.uio.no/henninho/Gitar.html MH __ From: AJN To: kalei...@gmail.com; chriswi...@yahoo.com Cc:

[BAROQUE-LUTE] Re: Big Edlingers

which might have been used historically on a particular sized instrument. Martyn __ From: sterling price spiffys84...@yahoo.com To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; baroque lute list baroque-lute

[BAROQUE-LUTE] Re: Big Edlingers

Dear Sterling, Further to your note about the very largest of German Dm lutes, we might also recognise that they may have had the so-called German theorbo tuning ie with the first course at a nominal d' which could thus bear the increased stress of such a string length. Instruments

[BAROQUE-LUTE] Re: Pierre Gaultier in 1720! Old early music?

or vibrato MH From: Mathias Roesel mathias.roe...@t-online.de To: baroque-lute mailing-list baroque-lute@cs.dartmouth.edu Cc: Lute List l...@cs.dartmouth.edu Sent: Monday, 27 May 2013, 19:34 Subject: [BAROQUE-LUTE] Re: Pierre Gaultier in 1720! Old early music?

[BAROQUE-LUTE] Re: Thomas Mace and Cozen-German

I think it means a cousin from the same family. Mace might then be describing a relative MH --- On Mon, 5/11/12, Peter Steur p.st...@inrim.it wrote: From: Peter Steur p.st...@inrim.it Subject: [BAROQUE-LUTE] Thomas Mace and Cozen-German To: Baroque Lute

[BAROQUE-LUTE] Re: 'Baroque lute' songs

Dear Bill, There are indeed a few sources for songs accompanied by lute: one such which is readily vailable (tho' 18th century) is Beyer's 1760 setting of some Gellert odes. See this: [1]http://petrucci.mus.auth.gr/imglnks/usimg/c/c2/IMSLP204541-PMLP34546 6-Gellert.pdf And

[BAROQUE-LUTE] Re: Kleinknecht vid

Excellent - as you say a much neglected work and one requiring much panache and affet which you provide. I wonder if it's an arrangement of a keyboard sonata? I'm not aware of any relevant research - are you? Martyn --- On Tue, 28/8/12, Christopher Wilke chriswi...@yahoo.com

[BAROQUE-LUTE] Re: 'Baroque lute' songs

Dear Matthias, I agree with much of what you say. However regarding the observation that ' One may reasonably argue whether this is an accompaniment or an instrumental arrangement as there is no extra voice part. Instead, the lyrics are written beneath the tablature which

[BAROQUE-LUTE] Re: 'Baroque lute' songs

Dear Mathias, Thanks for this. Italian 7/8 course lutes are distinctly different to the mandoras/gallichons found in German speaking lands in the 18th century in a number of significant respects. Noteably: 1. Length of neck - mandoras in original state have room for 9 tied

[BAROQUE-LUTE] Re: Fasch concerto

Fasch is a fairly well known composer who wrote works in a variety of forms and instrumentation. His concerto in Dm is in the large Dresden collection (Mus.Ms. 2423.v.1) scored in four parts with lute: two violins, viola, Lluto, cembalo/basso (unfigured). Note that the lute is

[BAROQUE-LUTE] Re: Mouton's campanella technique

Von Radolt also employs this technique in his 'Der Aller Treueeste Freindin...' (Vienna 1701) - see the paper with relevant translation and commentary by Bill Samson and me in FoMRHI Quarterly some years ago (digital copies available - search FoMRHI). And I've recall at least one

[BAROQUE-LUTE] Re: JF Daube

Re works by J F Daube, as well as the lute works, there is at least one piece by him which includes mandora: a sonata for violin and mandora from his 'Musical Dilettante: A Treatise on Composition (Vienna, 1773 )'. This work was aimed at amateurs and especially aristocratic

[BAROQUE-LUTE] Re: Pre-judgement (or wishful thinking) was Re: Ne Anthony Bailes CD

thinking) was Re: Ne Anthony Bailes CD To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu Date: Tuesday, 20 March, 2012, 12:52 Dear Martyn I must appologize for not having seen your message; I actually

[BAROQUE-LUTE] Re: What lutes for 17th century French music was: Ne Anthony Bailes CD

-Urspruengliche Nachricht- Von: [1]lute-...@cs.dartmouth.edu [mailto:[2]lute-...@cs.dartmouth.edu] Im Auftrag von Martyn Hodgson Gesendet: Freitag, 16. Maerz 2012 13:39 An: baroque-lute mailing-list; Mathias Roesel Betreff: [BAROQUE-LUTE] Re: What lutes for 17th century French

[BAROQUE-LUTE] Re: Ne Anthony Bailes CD

Dear Anthony, There's no reason why such bass gut strings shouldn't work almost as well on a small lute as on a bigger one: simply the overall pitching will be higher (ie in both cases the highest string will be pulled up as close as possible to breaking stress). Martyn ---

[BAROQUE-LUTE] Re: Ne Anthony Bailes CD

instrument. rgds Martyn --- On Sun, 18/3/12, William Samson willsam...@yahoo.co.uk wrote: From: William Samson willsam...@yahoo.co.uk Subject: Re: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, baroque-lute@cs.dartmouth.edu baroque

[BAROQUE-LUTE] Stringing in relation to lute size [WasRe: Ne Anthony Bailes CD

pitches rgds M --- On Sun, 18/3/12, William Samson willsam...@yahoo.co.uk wrote: From: William Samson willsam...@yahoo.co.uk Subject: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, baroque-lute@cs.dartmouth.edu

[BAROQUE-LUTE] What lutes for 17th century French music was: Ne Anthony Bailes CD

: From: William Samson willsam...@yahoo.co.uk Subject: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu, Edward Martin e...@gamutstrings.com Date: Friday, 16 March, 2012, 8

[BAROQUE-LUTE] Re: What lutes for 17th century French music was: Ne Anthony Bailes CD

Bailes CD To: Martyn Hodgson [7][6]hodgsonmar...@yahoo.co.uk Date: Friday, 16 March, 2012, 10:38 I just found that this album can be listened to on Spotify if you have access to it. It's free to use in the UK, but I can't say how

[BAROQUE-LUTE] Re: What lutes for 17th century French music was: Ne Anthony Bailes CD

-LUTE] Re: Ne Anthony Bailes CDTo: Martyn Hodgson [4][3]hodgsonmar...@yahoo.co.uk, [5][4]baroque-lute@cs.dartmouth.edu [6][5]baroque-lute@cs.dartmouth.edu,Edward Martin [7][6]e...@gamutstrings.comDate: Friday, 16 March, 2012, 8:33 Hi Martyn, Do

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

... To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu Date: Friday, 6 January, 2012, 16:38 On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote: Equal temperament was used on lutes from the 16th century onwards Except by Gerle (1532) And the Dowlands (1610) And Ganassi (1543

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

Incorrect again Howard - he does not say those who use tastini are 'prominent' players as you do (from where do you get this), but that they are foolish. MH --- On Fri, 6/1/12, howard posner howardpos...@ca.rr.com wrote: From: howard posner howardpos...@ca.rr.com

[BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute tablature on sight

To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu, lute mailing list list l...@cs.dartmouth.edu Date: Friday, 2 December, 2011, 18:28 On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote: As David Hill points out (have you bothered to read his paper?) the voice generally expected when

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

, 2011, at 8:30 AM, Martyn Hodgson wrote: We've already discussed this: the range of these songs is well within that of the generality of sopranos and tenors (see David Hill's recent paper which also discusses this matter) so there is really no need to transpose

[BAROQUE-LUTE] Re: Male alto in Lute songs? [wasTransposing lute tablature on sight [was Re: A=392]]

AM, Martyn Hodgson wrote: Have you anything constructive to add to the exchange? No; once you've told us that transposition is unnecessary because almost half the singers who'd want to sing the music can do it without transposition, you've said it all. -- To get on or off

[BAROQUE-LUTE] Male alto in Lute songs? [wasTransposing lute tablature on sight [was Re: A=392]]

[was Re: A=392] To: Baroque Lute List (E-mail) baroque-lute@cs.dartmouth.edu Date: Thursday, 1 December, 2011, 10:22 On 1 December 2011 11:08, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote: Further to this, all the sopranos and tenors I have worked with have found

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

on sight [was Re: A=392] To: Baroque lute Dmth baroque-lute@cs.dartmouth.edu Date: Thursday, 1 December, 2011, 16:06 On Dec 1, 2011, at 2:08 AM, Martyn Hodgson wrote: why would you wish to transpose the lute part at all? I can claim no particular great expertise

[BAROQUE-LUTE] Re: A=392

. regards Martyn --- On Wed, 30/11/11, William Samson willsam...@yahoo.co.uk wrote: From: William Samson willsam...@yahoo.co.uk Subject: [BAROQUE-LUTE] Re: A=392 To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu

[BAROQUE-LUTE] Re: A=392

From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: Re: [BAROQUE-LUTE] Re: A=392 To: David van Ooijen davidvanooi...@gmail.com Date: Wednesday, 30 November, 2011, 10:18 Thank you for this. So, if I understand you right, the early lute players could all

[BAROQUE-LUTE] Re: A=392

From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: Re: [BAROQUE-LUTE] Re: A=392 To: David van Ooijen davidvanooi...@gmail.com Date: Wednesday, 30 November, 2011, 13:46 Thank you for this. I think the same general query applies to modern players too - what

[BAROQUE-LUTE] Transposing lute tablature on sight [was Re: A=392]

, 2011, 14:07 On 30 November 2011 14:46, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote: I think the same general query applies to modern players too - what evidence have you for your assertion that all experienced players can transpose tablature on sight? Gosh, there goes my

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

] Transposing lute tablature on sight [was Re: A=392] To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Baroque Lute List (E-mail) baroque-lute@cs.dartmouth.edu, David van Ooijen davidvanooi...@gmail.com Date: Wednesday, 30 November, 2011, 15:45 Just to jump in the fray. My

[BAROQUE-LUTE] Re: A=392

with 'perfect' (modern) pitch.. Martyn --- On Tue, 29/11/11, Anthony Hind agno3ph...@yahoo.com wrote: From: Anthony Hind agno3ph...@yahoo.com Subject: Re : [BAROQUE-LUTE] Re: A=392 To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Date: Tuesday, 29 November, 2011, 12:11

[BAROQUE-LUTE] Re: D# Minor Suite: fretting implications

For true intonation the size of a chromatic semitone is different to a diatonic semitone: so that, for example, the interval C# to D is larger than Db to D. Advocates of unequal temperament fretting on the lute will therefore presumably need to decide which key they are in..

[BAROQUE-LUTE] Re: L'Infidele

Dear Rob, The (single) basses of theorbos (and archlutes) are generally much closer than even 12mm - some extant are less than 10mm! - and one is able to navigate these. I suspect habit lays down neural pathways in the brain which enable us to change from one instrument to another

[BAROQUE-LUTE] Re: L'Infidele

Dear Rob, It is a stretch but I do think the low A (ie 13th) is meant: the BL MS is very clear and there are no signs of an a on the 6th course being altered to a 6 (as we sometimes find elsewhere). I think there are two factors here: 1. Clearly much depends on how one

[BAROQUE-LUTE] Re: L'Infidele

-archive.com/lute@cs.dartmouth.edu/msg19722.htm l Best regards, Bill From: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk To: BAROQUE-LUTE [3]baroque-lute@cs.dartmouth.edu; Rob MacKillop [4]robmackil...@gmail.com Sent: Tuesday, 4 October 2011, 10:25 Subject

[BAROQUE-LUTE] Re: v Radolt's lutes again

Radolt's lutes again To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu, lute.cor...@sunrise.ch lute.cor...@sunrise.ch Date: Friday, 23 September, 2011, 19:04 Thank you Martyn and Andreas However this leaves me even more

[BAROQUE-LUTE] PS to Re: v Radolt's lutes again

For f'' read f' . MH --- On Sat, 24/9/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: [BAROQUE-LUTE] Re: v Radolt's lutes again To: baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu

[BAROQUE-LUTE] Re: La belle / O stelle homicide

Dear Mathias, When you say the lute was tuned in A (Old tuning), I think you may mean that it looks to be so if we take the vocal part staff notation as indicating a particular fixed pitch. There's enough evidence to suppose that in many domestic contexts the voice accomodated to

[BAROQUE-LUTE] Re: Lute Strings for theorbo

Much depends on your technique and whether you play close to the bridge (as the Old Ones generally seemed to have done) or up to the rose. However whatever tension you decide upon, with such a small instrument why don't you follow historical practice and only lower the first

[BAROQUE-LUTE] Re: Lute Strings for theorbo

From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: Re: [BAROQUE-LUTE] Re: Lute Strings for theorbo To: Taco Walstra wals...@science.uva.nl Date: Thursday, 11 August, 2011, 11:16 There are non-English sources which describe theorbos with only the first course

[BAROQUE-LUTE] Re: Lute Strings for theorbo

theorbo. Thus a theorbo in nominal D, as you seem to advocate, isn't specified for this solo music. MH From: Taco Walstra wals...@science.uva.nl Subject: [BAROQUE-LUTE] Re: Lute Strings for theorbo To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, 'baroque Lutelist' baroque-lute

[BAROQUE-LUTE] Re: Lute Strings for theorbo

, at 6:04 AM, Martyn Hodgson wrote: this matter of theorbo sizes still seems to be an area of misunderstanding. True, but we like you anyway. BTW, I recently saw Toy Story 3 with my family, and heartily recommend it. -- To get on or off this list see list information

[BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss?

Good point Rob, but, if we're thinking of one of the pictures, I recall it seems to show a large lute with a single neck. Whilst this could, of course, be the engraver's own fancy it might suggest the performer is playing a gallichon (large continuo type)..

[BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss?

] Re: Odp: Re: another portrait of S.L. Weiss? To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu Date: Monday, 11 July, 2011, 9:56 Interesting point, Martyn. I don't have the picture to hand. How many strings or tuning pegs are shown

[BAROQUE-LUTE] Re: Weiss concerto

On 2 July 2011 09:07, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote: I'm particularly impressed how the basses of the lute overshadow the cello in the tuttis... What we see is not what we hear, if you ask me. It feels like they're playbacking to a prerecorded track

[BAROQUE-LUTE] Re: Top luthiers of 11-courser?

conformity. Incidentally, 68 +/- 2cm is a range of 66 to 70cm. MH --- On Tue, 31/5/11, David R d_lu...@comcast.net wrote: From: David R d_lu...@comcast.net Subject: Re: [BAROQUE-LUTE] Re: Top luthiers of 11-courser? To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc

[BAROQUE-LUTE] Re: Top luthiers of 11-courser?

converted to an 11 course lute with a string length around 76cm on a CD of French lute music from around 1670, he conceded that 'As Martyn Hodgson quite rightly points out in his letter in the last issue of Lute News (No 94), a lute the size of the Wenger should not find acceptance

[BAROQUE-LUTE] Re: Top luthiers of 11-courser?

: [BAROQUE-LUTE] Re: Top luthiers of 11-courser? To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: baroque-lute@cs.dartmouth.edu Date: Tuesday, 31 May, 2011, 16:51 On May 31, 2011, at 10:08 AM, Martyn Hodgson wrote: Also see my correspondance with Bailes in recent issues

[BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc

-lute@cs.dartmouth.edu Date: Friday, 25 March, 2011, 0:18 I think Christopher makes some interesting points. I'll comment below. - Original Message - From: Christopher Wilke [1][1]chriswi...@yahoo.com To: Martyn Hodgson [2][2]hodgsonmar...@yahoo.co.uk; Baroque

[BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc

...@gamutstrings.com Subject: [BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Baroque lute Dmth baroque-lute@cs.dartmouth.edu Date: Wednesday, 23 March, 2011, 22:29 Dear Martyn and all, I had some correspondence with Tim Crawford 15 years ago

[BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc

@gamutstrings.= com wrote: From: Edward Martin [1]e...@gamutstrings.com= br / Subject: [BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc g= t; To: Martyn Hodgson [2]hodgsonmar...@yahoo.co.uk, Baroque lute Dm= th [3]baroque-lute@cs.dartmouth.edu Date: Wedne= sday, 23

[BAROQUE-LUTE] Jacques de Saint-Luc

The dates of this composer are generally given as 1616 - 1710 which seems a phenomenal life span for the time and even more so when his extant lute works seem to be in the style of the early decades of the 18th century (even down to fashionable doubling of the top and bottom line

[BAROQUE-LUTE] PS to: Jacques de Saint-Luc

individuals with the same, or similar,names. The players are Jacques Vandeville oboe and Daniel Fournier lute (and theorbo!). MH --- On Wed, 23/3/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: From: Martyn Hodgson hodgsonmar...@yahoo.co.uk Subject: Jacques de Saint-Luc

[BAROQUE-LUTE] Re: Other de Gallots....

To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Lutelist l...@cs.dartmouth.edu Date: Sunday, 20 March, 2011, 16:59 According to the title page Ms. Mus.Sch. C.94 was actually copied by Gallot's tres humbles et affectionne seruitur Monnier. The pieces are by at least two Gallot

[BAROQUE-LUTE] Re: polonaises

Quite a lot for mandora - if you count this as a 'lute' MH --- On Sat, 29/1/11, Roman Turovsky r.turov...@verizon.net wrote: From: Roman Turovsky r.turov...@verizon.net Subject: [BAROQUE-LUTE] polonaises To: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu Date:

[BAROQUE-LUTE] Re: polonaises 'per il Gallichona'

--0-1146046691-1296292639=:55291 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable   Further to my last, I thought you both might like to see an example from the collection 'Tre Serenata / Per il Gallichona'  Dresden 2701.   Mandora/gallichon in

[BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700

No attachments --- On Tue, 30/11/10, ro...@rolfhamre.com ro...@rolfhamre.com wrote: From: ro...@rolfhamre.com ro...@rolfhamre.com Subject: [BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700 To: l...@manassero.net, tade...@mac.com Cc:

[BAROQUE-LUTE] Re: Weiss duets for lute and harpsichord

I have a copy of the Salzburg Lautencodex Ms III 25 which contains these Weiss works (mostly for liutho, violino and basso but only the lute tablature survives). Other composers include: Meckh, Block(Bloch), Lauf(f)ensteiner, Bohr. I have no evidence that the Weiss pieces in this

[BAROQUE-LUTE] Re: Wenzel von Radolt

See my paper in FoMRHI Quarterly No 44 July 1986 C-737 : 'Von Radolt's instructions to lute players (Wien 1701)' This gives a translation of the instructions and a commentary on the lute sizes/pitches required. MH --- On Sat, 6/11/10, Edward Martin e...@gamutstrings.com

[BAROQUE-LUTE] Re: Corrrecting mistakes and mistaking corrections...

Dear Stewart, The relaxed speed is, I suspect, because she's dancing a 17th century French courante - tho' perhaps even a bit too relaxed in this example. Many courantes found in Austro-germanic sources are in the Italian manner. M --- On Wed, 13/10/10, Stewart McCoy

[BAROQUE-LUTE] Re: D-minor tuning and ET? Remedy?

) that is frequently used, and tonics on the 1st and 3rd frets, and a minor third on the second fret (3r). That's why I happily stick with ET. I'd be curious, though, about solutions as regards pure intervals. Mathias Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk schrieb: Whilst

[BAROQUE-LUTE] Re: D-minor tuning and ET? Remedy?

Whilst agreeing that much of the 18thC Dm repertoire requires equal temperament (or near), there's a case for some form of meantone for the earlier French repertoire which asks for fewer modulations and generally uses less extreme keys. The ubiquitous use of unisons (eg open first

[BAROQUE-LUTE] Re: Adirondack spruce

...@noos.fr wrote: From: Anthony Hind anthony.h...@noos.fr Subject: Re: [BAROQUE-LUTE] Re: Adirondack spruce To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, baroque-lute@cs.dartmouth.edu Date: Wednesday, 16 September, 2009, 8:54 AM Dear Martyn Le 15 sept. 09 à 16:51, Martyn Hodgson a écrit

[BAROQUE-LUTE] Re: An original Baroque lute for sale?

I'm impressed by what looks like an old case. The instrument itself is clearly not any mainstream 'baroque' lute but that doesn't mean it's a fake: it could be, for example, an instrument like Dalla Casa's arcliuto francese or an archmandora, but both of these are 18th century

[BAROQUE-LUTE] Re: Gaultier chaconne timing

Bear in mind that at the time of Old Gautier, the dance was still very much influenced by the original Italian ciaccona which was indeed fast and sort of syncopated (best sources for seeing the transitional styles are possibly Corbetta's [and others] guitar chaconnes). Only in the

[BAROQUE-LUTE] Re: Falkenhagen's baroque lute - was: Falkenhagen's Angelique

There is, of course, another explanation of the discrepencies between the lute Falkenhagen is depicted as playing and what we normally consider what a 'baroque' lute of the period is (other than lack of precision on the part of the engraver - not unkown): that F posed for his own

[BAROQUE-LUTE] Re: Thirteen-course conundrum - gut basses

Indeed Martin - and what other reason for the invention of the 13 course German theorboed lute than that 18th C players desired to retain the sound of plain gut but also wished for rather more sustain/power possible with the longer (and thinner) basses. Martyn --- On Sat,

[BAROQUE-LUTE] Re: Bach's bass lines

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

[BAROQUE-LUTE] Re: Bach's bass lines

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

[BAROQUE-LUTE] Re: Bach's bass lines

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. Dale - Original Message - From: Martyn Hodgson To: Rob MacKillop ; Baroque-Lute Sent

[BAROQUE-LUTE] Re: Bach's bass lines

Rob, I'd be happy to lend you my large single strung gallichon in A for a few months if you could pick it up and arrange insurance etc. regards, Martyn Rob MacKillop [EMAIL PROTECTED] wrote: I've just been thinking about Bach's bass lines (not the lute/violin/cello suites)

[BAROQUE-LUTE] Re: Edlinger Lutes in South Dakota - another thought

Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Thu, 7 Feb 2008 18:57:24 + (GMT) From: Martyn Hodgson [EMAIL PROTECTED] Subject: Re: [BAROQUE-LUTE] Re: Edlinger Lutes in South Dakota - another thought To: Rob Lute [EMAIL PROTECTED] CC: baroque-lute@cs.dartmouth.edu I agree, but would

[BAROQUE-LUTE] Re: Stringing

Von Radolt (1701) clearly indicates octaves on the 6th and, of course, lower. Mouton's tablatures also. MH T. Diehl-Peshkur [EMAIL PROTECTED] wrote: Hello collective :-) Just a short question: is it clear form the 11 course instruments that the 6th course was always 8' + 4' strung? Would

[BAROQUE-LUTE] Re: Stringing

Perhaps a slight danger of applying our modern preconceptions. As far as I am aware, the only historical written and iconographical evidence points to octaves on the 6th - perhaps you know otherwise? MH [EMAIL PROTECTED] wrote: Sterling and Roman, Those passages in Hagen in which

[BAROQUE-LUTE] Re: Narvey article online/Dm continuo in Italy

The large Schelle theorbo is not, in fact that large in terms of string length (NB original bridge position is higher than at present and gives an original string length of only 85/86cm). Because it has a neck for 8 frets (rather than the 9 or 10 some people go for these days) it does,

[BAROQUE-LUTE] Re: Pesne

Martyn Hodgson [EMAIL PROTECTED] wrote: Date: Sat, 31 Mar 2007 08:43:10 +0100 (BST) From: Martyn Hodgson [EMAIL PROTECTED] Subject: Re: [BAROQUE-LUTE] Pesne To: Roman Turovsky [EMAIL PROTECTED] Thank you for this. Indeed, but I wonder about the accuracy of the painter: for example

[BAROQUE-LUTE] Re: d minor theorbo tuning

The highest course of the Dm theorbo was d' - ie not f' as on the Dm lute. This was the subject of various communications over a year ago (see archives). At this and tuned at something below A440 it's quite possible to use gut strings on a proper size theorbo (eg the late Schelle @

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