New Cello Lute - 14 Course Theorbo
http://bachplucked.com/stittm.htm
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Dear All and Sundry;
On January 28, 2004 Spring Lake Village will be presenting a
Concert of music for Lute and Voice. The Concert will consist of
settings of selected Psalms from Nicolaes Vallet's Regia Pietas
published in 1620, introduced by selected
Dear Arto,
the problem is that there are people around not so lucky as I am (and as
obviously you are) which *have to* play the BWVs ...
I share your feelings regarding the Bach works in so far as the effort
you need to invest to get acceptable results is too high. And they are
not among the
The piece in question (BWV 995) is the only one (apart from the short
prelude BWV 999) clearly dedicated to the Lute.
The rest could have been to the Lautenwerk (which would have a low g)
but this one most likely really was rearranged for the lute.
The compromise - as I already said - would be
Dear Jason,
All becomes clear. Your library mentions the printer/publisher for
each book, including Jul. Paulus Fabritius Laub, who is responsible
for printing Hans Newsidler's _Das Ander Buch_. The exact phrase in
the book is Zu Nürnberg truckts. Jul. Paulus Fabritius Laub. durch
verlegung
And the baroque guitar - featured in one of his most famous painting which I
regular pay hommage to at Kenwood House in North London. The question is -
were these models actually playing the instruments are are they just props.
The lady playing the guitar is wearing the yellow jacket bordered
- Original Message -
From: David Rastall [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Sent: Monday, January 05, 2004 1:29 PM
Subject: Re: Double 1st (HIP message included)
On Sunday, January 4, 2004, at 02:47 PM, Martin Shepherd wrote:
I think this is the Cornetto facsimile edition of 3 in one.
I have the book and I can tell you that most pieces in the Gerle book are pirated from
other - Italian prints.
I think I have a complete inventory in my lute database and cans send it.
Best wishes,
Rainer aus dem Spring
IS department,
I don't think someone like Bach made tiny mistakes of this sort. I played
BWV 995 years ago, at my final Diploma, setting the 13th course as a G and
it worked, and I read from staff. Weyrauch is easier, but makes some changes
I don't think Bach would have much appreciated.
Donatella
Dear Donatella,
I'm not sure - there were many different types of lute around at Bach's
day. Just as an example the low G usually would fit the tessitura of an
archlute - giving the italian connections of the courts it would be
understandable how this mistake could happen. Or - another
Hello fellow lewters. I've started a lute voice blog to document my daily
music practice and study. I'll be posting a new piece of music (or something
approaching music :?o) with a commentary each day. The idea is to open up my
daily process to outsiders and not just show the finished product. It
Stewart,
This matter was discussed at length a year or so ago: it is a chimera.
Other than wishful thinking, there is no evidence for use of a theorbo
second course strung in octaves; indeed, since the stress of a higher
octave second would exceed the maximum breaking stress, it is highly
Dear Thomas and all,
it is entirely possible that the dedicatee Schouster was the
proud owner of an italian 14-c archlute, whether he tuned it
the Italian way or in d minor. But another solution would be
that he played a 9 course Mandora in d, a typical amateur
instrument as we know today.
New Cello Lute - 14 Course Theorbo
http://bachplucked.com/stittm.htm
The photo has been taken here at Kimberlies Mental Health facility, for my
forthcoming presentation at the UN, the subject: Marsupial Spongiform
Diencephalitic Syndrome.
Regards,
Isa B.
Isadora Bylsmer, MD, PHD, ACSW
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
it is a chimera.
Other than wishful thinking, there is no evidence for use of a theorbo
second course strung in octaves; indeed, since the stress of a higher
octave second would exceed the maximum breaking stress, it is highly
unlikely.
The
I saw the film in early December where I work at the Cleveland Museum of Art.
Our film program director somehow managed to negotiate a screening prior to
its public release.
Simply stated, the movie is visually and cinematographically one of the most
stunning I have ever seen. The subtle,
I really would like to know whether or not there is evidence of
continental 15-16 c. usage of double 1st courses on the lute?
Arne.
not the 16th but 17th centuries italian lutes (liuto francesa) had a
double first course (for example the famous Stradivari)
Thomas
Am Die, 2004-01-06 um 20.42 schrieb Arne Keller:
I really would like to know whether or not there is evidence of
continental 15-16 c. usage of double 1st courses
Wow, is that a tiny lute in the pic, or are you on the large side?
Robert
- Original Message -
From: Christopher Schaub [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, January 06, 2004 4:30 PM
Subject: my lute voice blog
Hello fellow lewters. I've started a lute voice blog
I can only second Sterling's opinion. This lute has a wonderful darkish
timbre and carries/projects quite remarkably. I have heard both his old
lute (which may have lost a bit of its original power over the years)
and the brand-new Tomlinson lute in comparison and the new lute sounds
quite
I can only second Sterling's opinion. This lute has a wonderful darkish
timbre and carries/projects quite remarkably. I have heard both his old
lute (which may have lost a bit of its original power over the years)
and the brand-new Tomlinson lute in comparison and the new lute sounds
quite
Yes. The page says why.
RT
Interesting. Is there any advantage in tuning this instrument over a swan
neck?
M.
Roman Turovsky [EMAIL PROTECTED] wrote:
I note Bob Barto plays something like a three-pegbox swan neck theorbo lute.
Is this a modern adaption or based on a historical - period
Good on you Donatella, I concur with all the way on this!
Reading Forkel and subsequent keyboard players note that Bach's music
is very difficult to play. It is generally regarded that his music was written in his
mind and not with his fingers. The man continually strived to write pure
Hi Michael,
if it was a lute or a mandora which Bach owned - nobody knows. His
household had quite many instruments and he not necessarily played all
of them. He was in firendly contact with JC Hoffmann, yes, bu Johann
Christian also has built many other instruments apart from lutes.
The
Dear Arto and Thomas,
I think those who leave the Bach lute suites, however debateable they be that they
were conceived on a lute, off their repertoire agenda, miss out on great music. It is
hard work on the lute but IMHO well worth the effort. I play them all (although I
still have some
That Bach was known as an exceptional keyboardist rivalling Handel and Scarlatti was
indeed well known, however, Forkel and those who defended Bach in the mid eighteenth
century acknowledged his abilities as a composer. I know of no other composer who
transcribes so well to other instruments.
Dear Michael,
Bach wrote very fine music, no doubt and it deserves to be played. I am
just a bit surfeits (?) by Bach on the lute or guitar.
It's the very secure way to play Bach because everybody will tell you
how marvelous the music would be. I personally think it's much more fun
to intrduce
Dear Martyn,
Many thanks for your message.
The question of whether particular courses should be tuned in
octaves or unisons is fundamental to our understanding of how music
was played in the past. Whether we are discussing lutes, baroque
guitars, theorboes, or even ukuleles, this same question
Thomas,
You are quite right. I'm currently enjoying the lute journey of discovery as far as
learning composers for this wonderful instrument.
Michael.
Thomas Schall [EMAIL PROTECTED] wrote:
Dear Michael,
Bach wrote very fine music, no doubt and it deserves to be played. I am just a bit
Haven't you read my citation from Virdung?
By the way, the lute on the title page of Besard's Isagoge has a double first
course.
On the other hand Attaignant says (Tres brève ...):
Le lutz a XI cordes ordonnez par six ordres...
and
Enguilbert de Marnef (1556):
.. a cause que l'on met deux
Dear lute netters,
today I received Chilesotti's famous edition of the lost lute book via ILL.
I have to say that I am disappointed. In general the music is rather simple,
often boring and only a few pieces are really charming.
By the way, the title of the piece on page 176 (which Chilesotti
Thomas Schall at [EMAIL PROTECTED] wrote:
The difficulty could mean many things: technical difficulty or musical
difficulty. Usually the works by Bach were regarded as musically
difficult - difficult to understand, difficult to listen to them etc.
old-fashioned.
Were regarded by whom, other
Which Clavier-Ubung? I assume No.3 - Goldberg variations? In which case, technically
difficult indeed. I understand the Tocattas for keyboard are thought to have been
written on clavichord (Here I refer not to the organ works) are the closest we have to
Bach the improvisor - how the man
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