Tadeusz Czechak [EMAIL PROTECTED] schrieb:
1.It is still a proverb in Poland , but not commonly used , as now only a
few poeple know who was Bakfark . You may hear it rather from the poeple
involved with literature , poetry, culture etc.
Yes, indeed. I asked a Polish friend of mine. She is a
Dear Vance,
At present three instruments are considered officially as authentic vihuelas
but in my opinion the Belchior Dias 1581 instrument (Royal College of Music,
London) deserves to be added to this list. The main body of music for the
vihuela is in the seven books which were published
Dear Alexander,
At 09:03 AM 9/24/2004, you wrote:
Only one (in Jacquemart-Andre) has
gained universal acceptance; there are still unresolved issues around the
others...
..and, as is often mentioned in this discussion, the Jacquemart-Andre
piece doesn't appear to have been built with the intent for it to serve
Hi there,
I'm afraid that Chambure's vihuela has gained as well universal
acceptance, at least within vihuela experts' circle.
On the other hand Jacquemart-Andre's vihuela was, as Eugene suggests, built
for different purposes than playing music on it(probably a sort of an exam
for someone willing
At 09:40 AM 9/24/2004, ariel abramovich wrote:
Hi there,
I'm afraid that Chambure's vihuela has gained as well universal
acceptance, at least within vihuela experts' circle.
On the other hand Jacquemart-Andre's vihuela was, as Eugene suggests, built
for different purposes than playing music on
for all i know, informed discussion of this type
occurs all the time in any discipline. but (roll over
e.b. white) i honestly don't see how anyone - expert
or otherwise - can exclude the possibility, the
probability even, that at one time in history many
different instruments carried the
Just about everyone here other than you would be trying to define the
instrument that was considered an alternative for the lute in Spain and
Italy, for which Milan, Mudarra, Fuenllana and Narvaez wrote books of music;
the instrument pictured on the front of Milan's El Maestro (which, I have
Yeah, but what's the prize??
Of course if lutenists were a truly enterprizing bunch, they could all put
10 dollars in the pot and truly get something going. Or the contestants
could make sure their piece can be transcribed for guitar to enter one of
the many competitions for that instrument.
Yeah, but what's the prize??
OK: the winning SET will get an original Turovsky oil.
What will it take for lutenists to take contemporary music for their
instrument seriously, I wonder: Should it come from the top - our virtuoso
artists, like Ron McFarlane, or from the base? Should it come at
Hi all,
Perhaps of interest to some:
The (epic) duel of a lutenist and a nightingale, from: A collection of
ballads, and some other occasional poems. By William Tunstall, ... 1727.
1. http://cbsr26.ucr.edu/wlkfiles/Publications/LuteNightingale_1.png
2.
Dear Bill,
Most of us who write to this list are interested in the lute. We
want to learn more about it, and about similar instruments played
long ago. Our knowledge is sometimes patchy, but by sharing ideas
and discussing things together, we can help each other find out
more. That's the whole
Dear lute netters,
has anybody out there read the CD review in Early Music, may 2004, page 339-341
by a certain Tess Knighton?
She writes
The results can be innovative and exciting, rewarding and attractive, all of
which is fine as long as the listener is informed about what is going on...
i'm off to play up north this weekend with a busload
of soggy pranksters - absolutly pelting down at the
moment. in the meantime, please have a look at this
fascinating little piece of documentation:
http://www.iruya.com/ent/claves/charango.htm
i came across it quite soon after i bought my
Dear Rainer,
I hadn't read Tess Knighton's review, but I have now. There's
something about this sort of pompous and wordy musicological
writing, which I find intensely irritating.
I've found the repeated use of Vallon for Vallet, but I can't find
Nocolas for Nicolas. I suppose it is possible
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