0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
The lutenist is Soeren Leupold.
RT
A quick survey of the Naxos Music Library reveals that on the very recently
released Naxos recording of the Matthew Passion (8.557617-19) the "Komm
suesses Kreuz" is performed with lute obbligato alongside bass Hann
Mueller-Brachmann. I'm not sure who the lu
Paper was expensive, so was the time to write upon it. What appears to be
short is, to my mind, simply concise. Consider the typical estampie, with
repeats and alternate refrains, several minutes of music are easily
written upon half a sheet of paper.
There are french poetic forms (eg, de tous bi
I just know of David's performances in Amsterdam.
By the way, the lute obbligato appears in an early
version of the St.Matthew Passion. So it was conceived
for lute, and later gamba was used, perhaps because no
lute was available.
The earlier manuscript (copied by one of JSB's pupils)
appears in
A quick survey of the Naxos Music Library reveals that on the very recently
released Naxos recording of the Matthew Passion (8.557617-19) the "Komm
suesses Kreuz" is performed with lute obbligato alongside bass Hann
Mueller-Brachmann. I'm not sure who the lutenist is, but it sounds good,
altho
Yes, it is the melodic line in the obbligato for "Komm
sueses Kreuz" (No. 66). All of those leaps require the
gambist to alternate playing on a high string, then
leaping over intermediary strings to get a low string.
Usually with lots of scratching.
On lute, the leaps simply follow the natural con
On Sat, 3 Jun 2006, Roman Turovsky wrote:
> For Arto, Howard et al:
> http://www.newmusicclassics.com/figured_bass.jpg
Heh, heh... :-)
Seems to be quite late baroque with those 7th chords and
their inversions...
Arto
To get on or off this list see list information at
http://www.cs.dartmouth.
> David, do you play the obbligato in the St. Matthew, or is it still given
> over to gamba? It is so ugly and awkward on the latter instrument, imho.
Once I was so lucky - the big hall in the Concertgebouw Amsterdam on Good
Friday: how lucky can one get? - to be allowed to play the obliato. On o
Oh, I misunderstood.
With Bach, might the continuo instrument be gallichon?
Bach's predecessor, Johann Kuhnau, pettitioned the
Mayor, >>For our concerted sacred music we always have
to borrow the so-called _*Colochons*_ [Gallichon--not to
be confused with colascione], a type of lute, whose
so
to me this opens up a larger question concerning the
value of beauty - is it ever objective? the lute's
"plinking and plonking" - or however it was that
goebel described the lute - sounds glib and off-hand
.. the sort of subjective peevishness which says: "if
i don't like it, it's not good" ... it
> consulting Music Index or RILM. There are some ensemble
> works that include a contuinuo part for guitar in
> alfabeto. Even more name guitar on the title page as
> an apprpriate continuo instrument,
I'm sure there are, but perhaps Reinhard Goebel's point was that Bach's
cantatas were not amon
There is a survey on the use of guiitar as a continuo
instrument by Robert Strizich in_*Il fronimo.*_ I do not
have the exct citation, but it could be found by
consulting Music Index or RILM. There are some ensemble
works that include a contuinuo part for guitar in
alfabeto. Even more name guitar
But Goebel has a point. Once a year I am asked to play in one particular St.
Matthew, bring my archlute and do all the 'appropriate' continuo, but the
conductor asks especially for me because I can be so noisy in the 'Unde die
erde bebete, unde die Felsen zerrissen, &c" on baroque guitar. Very
13 matches
Mail list logo
