t;'Baroque lute Dmth'" , Mathias
Roesel
Betreff: [BAROQUE-LUTE] Re: 'Baroque lute' songs
Datum: Tue, 28 Aug 2012 19:14:31 +0200
Dear Mathias,
Thanks for this.
Italian 7/8 course lutes are distinctly different to
the mandoras/gallichons found i
ed with their mouths
closed.
regards
Martyn
--- On Tue, 28/8/12, Mathias Roesel wrote:
From: Mathias Roesel
Subject: [BAROQUE-LUTE] Re: 'Baroque lute' songs
To: "'Baroque lute Dmth'"
Date: Tuesday, 28 August, 2012, 15:33
would have been content with a simpler realisation.
>
>Finally, tho' not the Dm lute, there are quite a few extant
>intabulations of song accompaniments from the 18th century for
> mandora/gallichon - including such mind blowing scenarios as Mozart's
>Qu
of song accompaniments from the 18th century for
mandora/gallichon - including such mind blowing scenarios as Mozart's
Queen of the night aria!
Martyn
.
--- On Tue, 28/8/12, Mathias Roesel wrote:
From: Mathias Roesel
Subject: [BAROQUE-LUTE] Re: 'Baroque lute'
>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-PMLP345466-Gel
lert.pdf
One may reasonably
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
> Reussner's hundert geistliche etc. are 11 c arrangements of hymns
(lutheran?)
> wich I think would also have been sung by the player or a singer(s). r
The salient point in Reusner's arrangements is his breaking and rhythmically
shifting the tunes according to the French fashion of solo lute play
As for the 17th / 18th centuries, Augsburg (songs by Arne et al) and Beyer
lack voice parts, so they might qualify as arrangements or intabulations.
One might mention Kremberg as well. Yet Kremberg, Beyer and the Augsburg
song all have in common that they double the voice in their upper parts.
In
