I think questions concerning which octave, which instrument, are
anachronistic - in those days you played the music you wanted to play
on the instrument you had, and adapted the music to suit. This is
quite harshly put, but the gist is there. I've performed Vivaldi on
18th-century cittern in
Dear Doc,
I think you're being a little unfair to musicologists. You are
certainly right that people in the past were practical folk, and
would play music on whatever instruments were available to them, and
there's no reason why we shouldn't do likewise. However, that's not
really the point. I can
Merry Christmas to you, lutenist friends and friends of lutes!
Perhaps it is especially appropriate to wish this from Finland,
the contry where Santa lives, and from where he travels around
the globe every Christmas! :-)
Below are some links that might interest you or your children,
as some k
Most people would consider it a colascione, though. ;-)
Stephan
Am 21 Dec 2003 um 20:54 hat Roman Turovsky geschrieben:
> A Ukrainian (!?!?!?) Cobza has been spotted in "The Concert" by
> Alessandro Mangasco (private collection, Bergamo, Italy). Magnasco, a
> Genoese, lived from 1667 to 1749. T
>
> Most people would consider it a colascione, though. ;-)
> Stephan
Except for a feature that has not been previously seen in colascioni:
psaltery set-up above the strings.
RT
>> A Ukrainian (!?!?!?) Cobza has been spotted in "The Concert" by
>> Alessandro Mangasco (private collection, Bergamo
>> Most people would consider it a colascione, though. ;-)
>> Stephan
>
> Except for a feature that has not been previously seen in colascioni: psaltery
> set-up above the strings.
> RT
Not to mention the pegbox
RT
>>> A Ukrainian (!?!?!?) Cobza has been spotted in "The Concert" by
>>> Alessa
http://www.muspe.unibo.it/period/ictm/articles/fugazz.htm
Am 22 Dec 2003 um 8:36 hat Roman Turovsky geschrieben:
> >
> > Most people would consider it a colascione, though. ;-)
> > Stephan
>
> Except for a feature that has not been previously seen in colascioni:
> psaltery set-up above the strings. RT
Ah, I see what you mean...
Stephan
>
> >> A
http://www.lacucinaeoliana.com/calascione.html
The name calascione is represented in the Mediterranean fish family for a
variety known as
pesce chitarra (rhinobatidae/ rhinobatus rhinobatus).
Also in Italian regions:
Campania: cetola, squadra viuline;
Lazio: Mandolino;
Marche: Squadre;
Puglia: c
http://www.studia-instrumentorum.de/MUSEUM/zist_theorb.htm
http://www.studia-instrumentorum.de/MUSEUM/zist_laute.htm
http://www.studia-instrumentorum.de/MUSEUM/zist_togg_hals.htm
http://www.studia-instrumentorum.de/MUSEUM/zist_hamb_cith.htm
http://www.studia-instrumentorum.de/MUSEUM/zist_sister.htm
http://www.studia-instrumentorum.de/MUSEUM/zist_pandora.htm
http://www.studia-instrumentorum.de/MUSEUM/weissg_vihuela.htm
Dear All,
In England, Christmas cards often have robins on them (and snow, but it never snows
here either), so here is a little seasonal piece of the month, at
www.luteshop.fsnet.co.uk and follow "piece of the month".
Seasonal greetings to all,
Martin
Ed Durbrow, or Heihachi Tagata, can you contact me please? Very
important.
Thanks,
David Rastall
Dear Nigel,
By now you will have found Frank Gerbode's site, which Roger
Traversac passed on to you via the French Lute List. May I add that
Thomas Morley's tablature accompaniment in G major is not easy to
play. It's all so much easier, if you transpose everything down a
tone to F major. Not only
>>> Most people would consider it a colascione, though. ;-)
>>> Stephan
>> Except for a feature that has not been previously seen in colascioni:
>> psaltery set-up above the strings. RT
> Ah, I see what you mean...
> Stephan
There is a Magnasco painting at the Kiev Museum of Occidental Art, but
som
Is their anyone besides Ed Durbrow on the list who lives in Tokyo, or
anywhere in Japan? Would you contact me please? Thanks.
David Rastall
Anyone interested in Sautscheck's version of BWV996 (somewhat unorthodox...)
is welcome to it
at
http://polyhymnion.org/swv/opus-2.html
Enjoy,
RT
Does anybody have the gamba part for the pavan for lute and viol by
Francis Pilkington (1st book of Ayres)?
Thanks
Nigel
Listening again to Martin Best's LP from 1974, (inspiring record, with much
lute, Argo /Decca ZRG 765) Coverpicture shows a 9 course with top course
removed and 1st and 2nd
single. Nice lute w/ what seems like metal frets (any particulars available?
Not on the record.) Was that
the way to play in e
Thanks Martin
I always thought that short and simple one in 2.11(?) (Rooley) was
excellent.
Merry Christmas
Göran
- Original Message -
From: "Martin Shepherd" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: 21. desember 2003 16:02
Subject: New piece of the month
| Dear All,
|
| In E
Göran wrote:
>
> Listening again to Martin Best's LP from 1974, (inspiring record, with much
> lute, Argo /Decca ZRG 765) Coverpicture shows a 9 course with top course
> removed and 1st and 2nd
> single. Nice lute w/ what seems like metal frets (any particulars available?
> Not on the record.) Was
Dear Thomas;
Please define "serious composer."
Gary Digman
- Original Message -
From: Thomas Schall
Date: 19 Dec 2003 17:36:47 +0100
To: Howard Posner
Subject: Re: John Cage on Lute
> If I could reg
Dear Stewart;
Obviously, Cage is not for everyone. I take it you don't like his
approach to music. It strikes me that by continuing this discussion,
and, in light of Dr. Oakroot's observations, we may be extending
Cage's compostion beyond its allotted 4':33". There a
nigelsolomon wrote:
> Does anybody have the gamba part for the pavan for lute and viol by
> Francis Pilkington (1st book of Ayres)?
>
> Thanks
>
> Nigel
>
>
>
Yes, I have it.
I can send a pdf file.
Rainer adS
Hi Stewart,
Thanks for your comments. If I am being unfair to musicologists (and i
don't believe I am), I am doing so from inside the group. We agree on
the historical and practical reasons you've mentioned, but I think that
losing sight of of the musical cultural of a period (as little as we
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