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-Original Message-
From: "Mathias Rösel" [mailto:[EMAIL PROTECTED]
Sent: 23 December 2007 17:23
To: T. Diehl-Peshkur
Cc: howard posner; baroque Lutelist
Subject: [BAROQUE-LUTE] Re: Doubling The Parts?
Answers to why this is so will necessarily be guesswork. What can be
doubling of parts exists in all kind and and periods of musicmaking,
> often just for the coloration it provides
>
>
>
> From: howard posner <[EMAIL PROTECTED]>
> Date: Sun, 23 Dec 2007 08:07:36 -0800
> To: baroque Lutelist
> Subject: [BAROQUE-LUTE] Re: Doubling
telist
Subject: [BAROQUE-LUTE] Re: Doubling The Parts?
> What I mean is: when performing that in an ensemble, what's the
> point of the lute doubling one of the other parts?
Projection in a large performance space may have been an issue; it
could have been a way of creating a s
What I mean is: when performing that in an ensemble, what's the
point of the lute doubling one of the other parts?
Projection in a large performance space may have been an issue; it
could have been a way of creating a super-lute. spaces.
Haydn's piano trios often have a similar texture, wit
What I mean is: when performing that in an ensemble, what's the
point of the lute doubling one of the other parts?
DR
On Dec 23, 2007, at 10:20 AM, Ray Brohinsky wrote:
> So, rather than realized continuo parts, the lute tablature represents
> a condensed score, if you will, for separate per
Exactly.
RT
So, rather than realized continuo parts, the lute tablature represents
a condensed score, if you will, for separate performance?
ray
On Dec 23, 2007 10:12 AM, Roman Turovsky <[EMAIL PROTECTED]> wrote:
So you could play it by yourself.
RT
- Original Message -
From: "Davi
So you could play it by yourself.
RT
- Original Message -
From: "David Rastall" <[EMAIL PROTECTED]>
To: "baroque Lutelist"
Sent: Sunday, December 23, 2007 10:10 AM
Subject: [BAROQUE-LUTE] Doubling The Parts?
This question was prompted by looking at the Concerto in Gm by
Lauffenste
