> To present this as your recent find, when you knew damn well that I
> published this piece in paper format in 1984, and when it ran out of
> print, I posted it on line in 1997, at which time you chose to
> criticize it on RMCG, in other words, you knew that it was there, is
> nothing short of
>Fri, 12 Aug 2005 15:28:06 -0700 Arthur Ness wrote:
>
>I really dislike seeing my words misrepresented on these pages,
>first by Thames/Haskins, and now Ophee.
My sympathy to you. It is indeed difficult to see one's words
misrepresented. It is even more difficult to see complete distortion
and
> Never fail. You are almost predicable. I was thinking it should be
> quite easy to compile a list of buzz words which would generate
> automatically these knee jerk responses. Now let see:
>
> I say: Koshkin will never write for the lute
>
> you say:__
>
Actually he might, just to spi
At 10:16 PM 8/12/2005, Roman Turovsky <[EMAIL PROTECTED]> wrote:
> > Actually, there are 11 freebies on my web site. See here:
> >
> > http://www.orphee.com/music.htm
> >
>11! Wow...
Never fail. You are almost predicable. I was thinking it should be
quite easy to compile a list of buzz words whic
> > > Recollections of Ireland Op. 41 in my web site 8 years ago, was a
> > > free offering, and still is.
> >An awesome thing indeed, a lifechanging event, an occurence of global
> >lutenistic proportions. Whoa..
> >One freebee in 8 years? My hat off to you.
>
> Actually, there are 11 free
At 04:36 PM 8/12/2005, Roman Turovsky <[EMAIL PROTECTED]> wrote:
> > At 01:25 PM 8/12/2005, Roman Turovsky <[EMAIL PROTECTED]> wrote:
> > >Matanya,
> > >An Austrian, Rodolfo [sic!] Soutscheck [sic!!!] trained the Florentine
> > >soccer team in 1939.
> >
> > The relevance of this fact, if it is a fa
> Besides, Ophee's edition has so many mistakes, I couldn't refer to it to
make my point about Beethoven influences.
MO deliberately inserts mistakes into his "editions", to track down
potential piracy. A scholarly type, isn't he?
RT
___
$0
I really dislike seeing my words misrepresented on these pages, first by
Thames/Haskins, and now Ophee.
Since my remarks are quite different from those of Ophee and Stenstadvold, they
do not constitute plagiarism.
Besides, Ophee's edition has so many mistakes, I couldn't refer to it to make
Howard Posner wrote:
>Get your tickets to this flame war early...
IOW, you are assuming that a simple discussion of plagiarism, on
which there is no question, would necessarily deteriorate in this
forum into personal insults and name calling. You are right, and
Roman Turovsky did not waste an
On Fri, 12 Aug 2005 17:12:01 -0400, Roman Turovsky wrote:
RT> > Professionally Krebs was an organist, one good enough to apply to succeed
RT> Bach after his death. He played harpsichord in the Collegium Musicum. By the
RT> way, are the lute parts for Krebs's concertos in tablature or staff
RT> not
It is very hot here, but there will be things happening when it cools down.
Give Pat O'Brien a call.
RT
> Anybody know of any lute or early music recitals upcoming in Manhattan? I
> finally moved to NYC and I'm eager to experience some musical events.
> Alan
>
> --
>
> To get on or off this list
> Professionally Krebs was an organist, one good enough to apply to succeed
Bach after his death. He played harpsichord in the Collegium Musicum. By the
way, are the lute parts for Krebs's concertos in tablature or staff
notation?
Tabulature.
>
> But in Coethen he had plenty of genuine lute playe
Professionally Krebs was an organist, one good enough to apply to succeed Bach
after his death. He played harpsichord in the Collegium Musicum. By the way,
are the lute parts for Krebs's concertos in tablature or staff notation?
But in Coethen he had plenty of genuine lute players, including Eli
This one goes out to Roman
http://www.stuartleblanc.org/audio/martin.mp3
-Original Message-
From: Roman Turovsky [mailto:[EMAIL PROTECTED]
Sent: Friday, August 12, 2005 7:19 AM
To: lute@cs.dartmouth.edu; Arto Wikla; Roman Turovsky
Subject: [LUTE] Re: Brescianello and Gallichon
Having
Hello, Paolo!
Terrel Stone has recorded 9 of the 18 sonatas for gallichon by Giuseppe Antonio
Brescianello, Kapellmeister at the Wurttemberg court in Stuttgart. It is vol.
1 of a projected 2 disc set. (Dynamic CD CDS 151. I do not know if vol. 2 is
out.) Various tuning are used, but about ha
> At 01:25 PM 8/12/2005, Roman Turovsky <[EMAIL PROTECTED]> wrote:
> >Matanya,
> >An Austrian, Rodolfo [sic!] Soutscheck [sic!!!] trained the Florentine
> >soccer team in 1939.
>
> The relevance of this fact, if it is a fact, completely escapes me.
It is meant to haunt you, and it will.
> If you a
At 04:00 PM 8/12/2005, Alain Veylit <[EMAIL PROTECTED]> wrote:
>Personally, I think that Michael Thames and Matanya Ophee are one and
>the same person - the timing is just too weird: one goes, the other one
>arrives...
>But I don't recall M.O. mentioning being a luthier or M.T. mentioning
>publishi
I forgot to unmask it. Do try again now.
RT
I still don't get the correct webpage. It says "unavailable."
- Original Message -
From: Roman Turovsky
To: Roman Turovsky ; Nancy Carlin ; Ed Durbrow ; lute@cs.dartmouth.edu
Sent: Friday, August 12, 2005 1:45 PM
Subject: [LUTE] Re:
> > ...But in
> > this case, it is entirely off base. My posting of Leonhard Shulz'
> > Recollections of Ireland Op. 41 in my web site 8 years ago, was a
> > free offering, and still is.
>
> ..And I, for one, am truly appreciative of it. Thank you, Matanya.
Indeed. It was one of the handful of fr
Personally, I think that Michael Thames and Matanya Ophee are one and
the same person - the timing is just too weird: one goes, the other one
arrives...
But I don't recall M.O. mentioning being a luthier or M.T. mentioning
publishing. Maybe it's a case of split personality?
Alain
Howard Posner
- Original Message -
From: Matanya Ophee <[EMAIL PROTECTED]>
Date: Friday, August 12, 2005 2:59 pm
Subject: [LUTE] Re: Leonhard Schulz
> ...But in
> this case, it is entirely off base. My posting of Leonhard Shulz'
> Recollections of Ireland Op. 41 in my web site 8 years ago, was a
> fr
Get your tickets to this flame war early...
Matanio Opheo wrote:
> If you are saying that some Austrians used Italianized names, you are
> breaking the lock on an open door. We know that already. If you
> intimate that just because one Austrian football coach working in
> Italy had an Italianized
At 01:25 PM 8/12/2005, Roman Turovsky <[EMAIL PROTECTED]> wrote:
>Matanya,
>An Austrian, Rodolfo [sic!] Soutscheck [sic!!!] trained the Florentine
>soccer team in 1939.
The relevance of this fact, if it is a fact, completely escapes me.
If you are saying that some Austrians used Italianized names
Anybody know of any lute or early music recitals upcoming in Manhattan? I
finally moved to NYC and I'm eager to experience some musical events.
Alan
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Posted on behalf of Chris Goodwin, secretary of the (UK) Lute Society:
FOUR NEW PUBLICATIONS FROM THE LUTE SOCIETY
Here are details of four new publications from the Lute Society. If you wish
to order any of them, email the Secretary, Chris Goodwin,
on [EMAIL PROTECTED]
The first of these is n
Also do a search on Martin Bagge self-accompanied (Bellman-cittern)
recordings. They are LOTS OF FUN.
I am having one such 8-course built.
RT (Bellman fan since 1977)
- Original Message -
From: "Nancy Carlin" <[EMAIL PROTECTED]>
To: "Ed Durbrow" <[EMAIL PROTECTED]>;
Sent: Friday, August 1
For everyone's edificatiom I have digitized a track from an old Bellman LP
by Fred Aackersroem (this PC cannot do scand. char., sorry):
http://turovsky.org/music/Epistel43.mp3
RT
- Original Message -
From: "Nancy Carlin" <[EMAIL PROTECTED]>
To: "Ed Durbrow" <[EMAIL PROTECTED]>;
Sent: Frid
Sorry, correct URL is
> http://turovsky.org/music/Epistle43.mp3
RT
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Nancy Carlin" <[EMAIL PROTECTED]>; "Ed Durbrow"
<[EMAIL PROTECTED]>;
Sent: Friday, August 12, 2005 01:40
Subject: Re: [LUTE] Re: music on the BBC
> For
I've had several people email me about finding the Bellamn cittern music
show. Here's how you do it.
Go to the BBc web site bbc.co.uk
Click on radio
Click on classical
Click on the Early Music Show
Click on More info about this show
You should see 2 yellow buttons - one for Saturday and one for
Matanya,
An Austrian, Rodolfo [sic!] Soutscheck [sic!!!] trained the Florentine
soccer team in 1939.
So keep you sticky moneycounting fingers away from Arthur (ever a
gentleman).
RT
From: "Matanya Ophee" <[EMAIL PROTECTED]>
> Arthur Ness wrote:
>
> >I even know an Irish fantasia by Leonardo what'i
Arthur Ness wrote:
>I even know an Irish fantasia by Leonardo what'is name? that has a
>harmonic progression very similar to the introduction to Beethoven's
>Second Symphony. Alas it's in that Danish collection of guitar
>music, and many accidentals are left out. Also in D minor/major. The
>g
It's a Shure KSM32, large-diaphragm condenser mic, very sensitive with nice flat
response. I'm tempted to get a second one and a mixer, but that might be overly
ambitious for home recording.
Anyways now that last night's guitar recital is done I can file down the nails
and try recording some lut
> > I suspect Stephen is mistaken in identification of the Schorn axe as
> > colascione
>
> you may just as well call it calichon, as Pietro does.
The question is how to tie it into the Ukrainian tradition, where it
obviously sticks out like a sore thumb that no one wants to mention. Modern
bandur
Regional Iconography 4.
RT
> > There is also a Gallichone from the same museum that seems to have been
> > popular among the Ukrainians as well, see REGIONAL ICONOGRAPHY section.
>
> Couldn't find it. Which is it?
>
> Best,
>
> Mathias
> --
>
> To get on or off this list see list information a
"Roman Turovsky" <[EMAIL PROTECTED]> schrieb:
> There is also a Gallichone from the same museum that seems to have been
> popular among the Ukrainians as well, see REGIONAL ICONOGRAPHY section.
Couldn't find it. Which is it?
Best,
Mathias
--
To get on or off this list see list information at
ht
"Roman Turovsky" <[EMAIL PROTECTED]> schrieb:
> I suspect Stephen is mistaken in identification of the Schorn axe as
> colascione
you may just as well call it calichon, as Pietro does. I was lucky to
play on Axel Weidenfels's copy of Schorn. It very much resembles a
chitarrone in terms of sound (a
I have an interesting photo of the Prague museum Angelique (thanks to Greet
Schamp!!!) that clearly shows torban's lineage. See chapter 3 in
http://polyhymnion.org/torban
There is also a Gallichone from the same museum that seems to have been
popular among the Ukrainians as well, see REGIONAL ICONO
On Fri, 12 Aug 2005, Herbert Ward wrote:
> I went to Google, and typed "string frequency tension density",
> expecting academic pages, and encyclopedia articles.
>
> Lo and behold, the #1 entry was "Arto's string calculator".
:-)
Arto
To get on or off this list see list information at
> There has been speculation that the instruments in the accounting of
Bach's estate were gallichons, being mistaken by the city official for
lutes. That has led to further speculation that Bach's lute works were
written for some kind of mandora.The lutenist who put
forth the idea has provided
There has been speculation that the instruments in the accounting of Bach's
estate were gallichons, being mistaken by the city official for lutes. That
has led to further speculation that Bach's lute works were written for some
kind of mandora.The lutenist who put forth the idea has
provid
> At 10:41 AM 8/12/2005, Roman Turovsky wrote:
> >I suspect Stephen is mistaken in identification of the Schorn axe as
> >colascione, as it bears dangerously close resemblance to 2 pictures here
> >midpage http://www.polyhymnion.org/torban/mamai4.html
>
>
> Interesting.
Even more so is the ca.1900
At 10:41 AM 8/12/2005, Roman Turovsky wrote:
>I suspect Stephen is mistaken in identification of the Schorn axe as
>colascione, as it bears dangerously close resemblance to 2 pictures here
>midpage http://www.polyhymnion.org/torban/mamai4.html
Interesting.
To get on or off this list see list
> > Would it be heresy to contemplate tuning the
> > third course up a half step and performing it on a G
> > lute? Just how different IS the Gallichon
> > structurally from our beloved six-coursers?
Besides barring, they had 8 courses, and possibly more. Prosser and I don't
agree on this, bu
I suspect Stephen is mistaken in identification of the Schorn axe as
colascione, as it bears dangerously close resemblance to 2 pictures here
midpage http://www.polyhymnion.org/torban/mamai4.html
RT
> http://www.lutesandguitars.co.uk/htm/cat08.htm
>
>
>
>
> To get on or off this list see list inf
I went to Google, and typed "string frequency tension density",
expecting academic pages, and encyclopedia articles.
Lo and behold, the #1 entry was "Arto's string calculator".
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> Would it be heresy to contemplate tuning the
> third course up a half step and performing it on a G
> lute? Just how different IS the Gallichon
> structurally from our beloved six-coursers?
They are barred like baroque lutes.
RT
To get on or off this list see list information at
http://w
At 09:40 AM 8/12/2005, [EMAIL PROTECTED] wrote:
>Just how different IS the Gallichon
>structurally from our beloved six-coursers?
Much more proto-Wandervogel-like. A couple luthiers' takes:
http://www.vanedwards.co.uk/two.htm#mandoras
http://www.lutesandguitars.co.uk/htm/cat08.htm
To get on
At 08:15 AM 8/12/2005, you wrote:
>Arto, not everyone shares your enthusiasm about Brescianello's mandora
>music, which was even (mis)committed to recording at least once, by Terrel
>Stone..
..And even more (mis)committed on modern guitar to the Dorian Discovery
label by Anthony Glise. I don't
Arto, Roman, etc.
I've been reading through the Brescianello on
guitar for the past few weeks. It not the most
sublime music on earth, but it is good listening:
quite interesting with unexpected harmonic twists and
occasional outbursts of drama that are rare in either
the lute or guitar rep
> > It is kind of un-undestandable that so good music is not played (nearly)
> > at all!
> >
> > All the best
> >
> > Arto
> Arto, not everyone shares your enthusiasm about Brescianello's mandora
> music, which was even (mis)committed to recording at least once, by Terrel
> Stone.
> I personally do
Dear all,
I am very impressed by the musical culture I see here, not least to see a
"querelle" about the value of Brescianello's music!
best wishes
Paolo
>
> Dear Roman & others
>
> On Friday 12 August 2005 15:15, Roman Turovsky wrote:
> > Arto, not everyone shares your enthusiasm abou
LEONARD SCHULZ
- Original Message -
From: Martyn Hodgson
To: Arthur Ness ; Lute Net
Sent: Friday, August 12, 2005 4:32 AM
Subject: Re: [LUTE] Re: OT: Mozart for guitar
SCHULZ
Arthur Ness <[EMAIL PROTECTED]> wrote:
Dear Erich and Howard,
You are correct. All of
Dear Roman & others
On Friday 12 August 2005 15:15, Roman Turovsky wrote:
> Arto, not everyone shares your enthusiasm about Brescianello's
> mandora music, which was even (mis)committed to recording at least
> once, by Terrel Stone.
> I personally don't see much in Brescianello's mandora music at
Having said that, Brescianello, along with the Brussels mandora Ms., is a
good tool for upgrading guitarists to better endeavors.
RT
> > What is/are the source(s) of Richard Civiol's edition of the
> > "Oeuvres pour Gallichon" by Brescianello. A printed book or manuscript?
> > When were the pieces
> One question more:
>
> What is/are the source(s) of Richard Civiol's edition of the
> "Oeuvres pour Gallichon" by Brescianello. A printed book or manuscript?
> When were the pieces composed, published/written? Richard does not
> mention these facts in his page or edition. Hi Richard, are you
> t
Thanks to everyone for the info!
Especially important source was Pietro Prosser's article in Marincola's
lutebot5: http://www.marincola.com/lutebot5.txt
One question more:
What is/are the source(s) of Richard Civiol's edition of the
"Oeuvres pour Gallichon" by Brescianello. A printed book or
Shortly before his death in 1722, Johann Kuhnau, Bach's predecessor in
Leipzig, asked the town council for money to buy to two gallichons so
they wouldn't have to keep borrowing them. Apparently Kuhnau liked to
use pairs of them in church services. It's not clear whether Bach did.
Arto Wikla
"Charles Browne" <[EMAIL PROTECTED]> schrieb:
> Dear Arto,
> Lynda Sayce gave a talk at the September 2003 meeting of the Lute Society on
> the Gallichon. The talk is printed in the October 2003 edition of Lute News
> (Number 67) on pp 7 -10. There is a listing of sources and a short
> bibliograph
Dear Arto,
Lynda Sayce gave a talk at the September 2003 meeting of the Lute Society on
the Gallichon. The talk is printed in the October 2003 edition of Lute News
(Number 67) on pp 7 -10. There is a listing of sources and a short bibliography
at the end of the article.
Best wishes
Charles
-Or
Dear lutenists,
there is music for "gallichon" by Brescianello
Oeuvres pour Gallichon
(http://luth-librairie.ifrance.com/brescianello.pdf)
that Richard Civiol has edited and gives to us all in his wonderful
pages http://luth-librairie.ifrance.com/
is quite interesting, indeed. And big thanks to
"Vance Wood" <[EMAIL PROTECTED]> schrieb:
> I think the difference that allows one to understand the vocal part with the
> instrumental part is the basic relationship between the tab. notation and
> the vocal. In tab, to my mind, most of the relationships (until you
> understand the voicing etc.)
SCHULZ
Arthur Ness <[EMAIL PROTECTED]> wrote:Dear Erich and Howard,
You are correct. All of the Sor studies,except Op.6, were published after
Beethoven's death. As Howard notes, it was probably the other way around if
there is any study influenced by the Moonlight.
What composer could possi
Dear Charles
It is called 'An Evening Hymn', and is for one voice with basso continuo.
The bass is a chaconna theme. I have recorded it last year with a
counter-tenor, but there is also a beautiful recording with Michael Chance
and Nigel North ;-). If you want, I can send you the music: figured
Ed Durbrow wrote:
> I liked the singer too. What is Pleyel style?
The Pleyel harpsichord is the instrument that Wanda Landowska (and
Ralph Kirkpatrick, for that matter) played, and for which Falla wrote
his Harpsichord Concerto. It was what most listeners in the
early-to-mid 20th century unde
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