Thomas,
Thanks for this notice. What an interesting CD by this duo! Jeni Melia has
a lovely voice indeed.
Mike
Detroit, Michigan USA
- Original Message -
From: "Thomas Schall" <[EMAIL PROTECTED]>
To: "Lautenliste" <[EMAIL PROTECTED]>
Sent: Wednesday, January 07, 2004 1:34 PM
Subject:
My apologies to the list for sending out yet another message just now full of
"=20"s
(I can't seem to figure out how this AOL mail works correctly with
[EMAIL PROTECTED])
Kenneth Be
Cleveland, Ohio
--
In a message dated 1/7/04 10:09:06 AM Eastern Standard Time,=20
[EMAIL PROTECTED] writes:
> Certainly the rosette looks rather odd - but this may be=A0 something to d=
o
> with the state of the painting.=A0 I seem to recall that many of his paint=
ings
> survive in a poor state or have been badly
Hi Mathias,
I think I just about understood your explanation of the Gallot and I have
been trying to apply that to the Barbe Manuscript, which I just do not
understand as some of the symbols are different. Do you know of any text
that gives a complete explanation of his notation? I used the CD Slee
http://www.lautenist.de/Time.mp3
Not because it's me who plays the lute (the first time I played
renaissance lute in public for years) but because of the voice of Renata
..
Another example from the same recital would be
http://www.lautenist.de/Now.mp3
with some embarassing solo playing at the be
Which brings me to the point that you and others (among them another
voice to fall in love with - Sara Stowe) made a CD "Great Music from the
Court of Elisabeth I" which became to my favorite of the last year with
music of Dowland, Allison, William Byrd and others.
A CD which should be in the col
Hello Stan,
I have a lute student and woud like to use your method for the =
Renaissance lute. DO you know where I can get a copy ASAP???
How have you been doing? I haven't been on the regular LuteNet, so I've =
been a bit out of touch.
regards,
joe
--
Dear Thomas,
I can confirm that Jeni Melia has a really lovely voice. I have
listened to the CD, and it's very nice indeed. Having folk music
alongside early music is most refreshing, and knocks away the notion
some of us may have, that music has to be compartmentalised (if
there is such a word).
With reference to the film Girl with a Pearl Earing, it appears to be on
cinema-release in the UK on 16th January.
Try this site for more info:
http://www.thezreview.co.uk/comingsoon/g/girlwithapearlearring.shtm
[Ron Fletcher]
Best Wishes
It looks to me like she's hanging onto the guitar with her left hand. And I=
=20
think anyone dressed in that outfit would have had to keep track of the=20
guitar with both hands. The skirt looks like satin or silk and then there's=
=20
the fur - both really slippery. You can see that she has the
Sorry!
When passing the mid-30s memory could fail ...
The recital of Jeni and Chris will be as part of the meeting in january
(january, 17th, at the Art Workers Gilt in London, mini-recita will be
at 2pm)
Please excuse!
Thomas
Am Mit, 2004-01-07 um 19.34 schrieb Thomas Schall:
> Hi luters!
>
Hi luters!
I haven't seen an announcement of this on the list. So I jump into the
hole and want to inform you that there is a new lute song CD out (and a
very recommendable!):
The Last of Old England - Jeni Melia (soprano) and Chris Goodwin (lute)
"The Last of Old England" is an anthology of Eli
martyn hodgson writes:
> You misunderstand the point: for larger theorboes, ie those that would
> normally be required to lower the 2nd an octave as well as the first, the
> physics doesn't work.
I understood you perfectly the first time. I just don't agree. Neither do
you, when it comes down
On Wednesday, January 7, 2004, at 06:56 AM, Stewart McCoy wrote:
> To answer your question, from what I know about archlutes, they were
> normally tuned to a nominal g', but there is also evidence which
> points to instruments tuned to a nominal a'.
Thanks, Stewart. The reason for my question,
Dear Steward,
actually this works fine. The odd thing is when thinking the tones
without the octave stringing! The octave stringing make a jump to the
higher/lower octave bearable for the listener. Several passages sound
odd when played by Fronimo's (or Django's) Midi-Output but played on the
lute
G.R. Crona wrote:
>
> Pardon me, fellas, but wasn't this supposed to be a free venture?
Dear G.R.,
Nothing is free. There is always a cost associated with everything. What we in this
country call Free Speech came at the cost of the Revolutionary War against England.
That struggle is still ongo
Just because one has freedom of speech doesn't mean that one is immune
to criticism.
DR
On Wednesday, January 7, 2004, at 11:58 AM, G.R. Crona wrote:
> Let me say that I appreciate that you have taken up a new instrument
> in the
> lute and I appreciate your interest in it. However, you have c
Dear Stewart,
I didn't mean to misrepresent you in any way. I was recalling a post wherein Jon
called you Stu and you let him know in no uncertain terms that you didn't find that
appropriate, preferring Stewart (or the more familiar McCoy as was revealed in another
set of posts). My apologies i
Dear Craig,
It is true that Jon didn't recognise the Lute Society's e-mail
address. I had just posted a brief note about it, as yours came in.
I do not doubt his good intentions.
There have been some discussions from time to time, when I may have
been in disagreement with others, but I have yet t
It looks pretty realistic to me.
> The pistagne looks as if it was a whool twisted strand: I can't imagine
> the
> way you would realise this in wood.
My guitarron (Mexican bass guitar) has a very similar border made from
alternating pieces of different colored wood.
>
> Certainly the rosette lo
Dear Martyn,
Many thanks for your reply. I'm a little bothered that we often seem
to end up disagreeing on threads which come up from time to time.
Please don't take it personally. I very much enjoy our exchange of
ideas, and value what you say.
In 1998 I taught the lute on an early music course
Let me say that I appreciate that you have taken up a new instrument in the
lute and I appreciate your interest in it. However, you have come in here
hell bent for leather and made many posts spouting off as if you had all the
knowledge of the instrument, the music and the period in the world and w
Here is a good image on the internet:
http://www.ibiblio.org/wm/paint/auth/vermeer/i/guitar-player.jpg
Could she be using a pick??
-Original Message-
From: Monica Hall [mailto:[EMAIL PROTECTED]
Sent: Wednesday, January 07, 2004 9:58 AM
To: Philippe Mottet
Cc: lutenet
Subject: Re: Girl
> Monica,
If you consider the exact (hyperrealist) way that Vermeer paints a
harpsichord or a cittern, don't you feel this baroque guitar as a very
strange model? The "plantilla", the details of decoration (especially the
rosette and the pistagne, the black and white border motiv) makes me feel
t
Thomas and Michael, thanks for your answers, they were inside the "spam"
file, for some unknown reasons ( well, one reason is the use of "html"..)
I agree that the A is to be played an octave upper, when lowering the 13th
to G, in BWV 995 , but there are not so many..an archlute would also go ( I
Thanks a lot, Stewart and Rainer, for your answers to that issue.
Best
Markus
One reviewer I heard on the radio said so little was known about the
artist and his model that everything except the actual paintings was a
wild guess. (I haven't seen the movie yet).
Monica Hall wrote:
> And the baroque guitar - featured in one of his most famous painting which
> I
> regular pa
Dear Jon,
Please forgive me if I am wrong, but I think you may have
misunderstood an important aspect of the present discussion: we are
talking about theorbos, not lutes. A typical theorbo (if there is
such a thing) has the first two courses tuned an octave lower than
you would on a lute, so that
Dear Jon,
[EMAIL PROTECTED] is the e-mail
address of the Lute Society.
Best wishes,
Stewart.
- Original Message -
From: "Jon Murphy" <[EMAIL PROTECTED]>
To: "Lute List" <[EMAIL PROTECTED]>
Sent: Wednesday, January 07, 2004 10:21 AM
Subject: Fw: Lute fraud warning, and concert notices.
Jon,
You've put your foot in it this time. Frankly the only advice I can give you at this
point is to pay greater attention to this list. If you had done so in the first place
you would have noticed that the address you suspected of spamming us is in fact the
very reputable address for the Lute
Stewart,
I posted something about this over a year (or so) ago when it first emerged
in this forum, so I'll not repeat myself other than to say it's simply a
question of the physics: the highest courses were tuned down an octave
because the string stress exceeded the breaking stress of the stri
Dear David,
Tablature does not show pitch, so unless there is some other
indication, e.g. music in staff notation for a singer or other
instrument, we cannot tell what pitch (if any) is intended. The aim
of my previous e-mail was to show that number 14 was a mistake in
Piccinini's Gagliarda IX. To
Howdy all,
I have looked for a skilled lutenist or teacher in my area, and Patrick
O'Brian in Brooklyn assures me he knows of some. But as I'm having to teach
myself for the time being (with the excellent aid of Damiani's Method) I do
have a question. It has to do with position, and as position be
You misunderstand the point: for larger theorboes, ie those that would
normally be required to lower the 2nd an octave as well as the first, the
physics doesn't work. Of course, for smaller theorboes (say, less than
around 80cm) only the first would normally be required to be lowered (as
the Old
Wow, did I goof. I sent this original to the very address that I suspected
was spamming us. I now forward the original and my response to the lute
list. And should [EMAIL PROTECTED] be legitimate I apologise, but suggest you
write me on proper internet list protocol.
JWM
- Original Message --
With apologies for not having read the entire thread, and for my lack of
knowledge of the specifics of the main courses of a theorbo, may I say that
the "maximum breaking stress" of strings is fixed at a pitch, but that is a
pitch for each length. There is no way I could find a resonating string to
Dear all
1. REPEAT WARNING ABOUT FRAUD INVOLVING LUTES - PLEASE WARN EVERYONE YOU CAN=
=20
THINK OF ABOUT THIS.=20
=20
I have just had a message from a Lute Society member to the effect that=20
fraudsters are continuing to target people selling lutes - and other objects=
of=20
high value - over t
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