Wow! All this wind is caused by his playing?
I most like that point at the end, where he is trying to eat his lute.
-Original Message-
From: Roman Turovsky [mailto:[EMAIL PROTECTED]
Sent: Saturday, January 26, 2008 3:17 AM
To: Lutelist
Subject: [LUTE] More Karamazov
http://www.youtube.
Stuart,
Thanks for your response.
"I used to have a Baroque lute, but this period, apart from a very few pieces,
was beyond me."
I find the baroque lute a real handful, too. For some reason that I really
don't understand, 11-course French baroque pieces are much more difficult
for me than 10-co
_
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Dear Donatella and the List,
yeah! Just as you describe! And perhaps also some green (Marsian?) stuff
pouring underneath, trying to eat K's lute. And K. is fighting back by
the disharmonies of the piece. And at the end winning the Alien stuff by
the unexpected minor third at the final... [green
MUCH better, Stephen. I've added a little reverb to it:
http://www.rmguitar.info/mp3s/StephenArndtGaultier.mp3 which I think helps
smooth things out a little bit. There is no need to speed it up if the
articulation is correct. French courantes are possibly the most rhythmically
complex thing on Pla
Phew. What a discussion. I was away for a few days and just finished
digging through my inbox.
Forlorn hope has been my favourite for decades and is still in my top
ten not necessarily only among lute music. What a piece! In my humble
opinion, Edin's interpretation is as well interesting
It's tantalizing to theorize about the PDT (potentially detachable
tail) style of countersubject in connexion with Forlorn Hope, as the
countersubject breaks off and leads the toccata like charge.
I find this almost persuasive given what we know about Dowland's
sophisticated hexachord manipulati
Dear Roman,
Perhaps we should consider what John Dowland thought about people
re-writing
his music. He made his view very clear in the introduction to his _First
Booke of Songs_ (London, 1597).
Hoppy Smith routinely rewrites what he plays, A LOT MORE that a single note
that Edin changed.
Bes
I mentioned to my wife that Edin Karamazov had become a subject of
discussion on the lute list. (She and I were introduced to the
Labyrinth CD/DVD by the elder ladies of our consort, and she liked the
"Can she excuse my wrongs" segment and Edin's playing so much she
asked for the set for Christmas.
Dowland did publish his lessons in c1603 as LoST. The lessons are the
key to his music, and the most important source of English lute
counterpoint, along with the holograph
Farewell Fancy in Holmes. In addition to being beautiful music, the
lessons clearly lay out the rules of lute voice leading
Hello, all!
Fridays are my day off, so I thought I would try to record again, this time a
Courante by Gaultier (mais elle ne court pas tr=E8s vite!). I tried to lighten
up on the downbeats, as Rob suggested, but I don't know whether it's any better.
I realize that I never answered Stuart'
Dear Roman,
Perhaps we should consider what John Dowland thought about people re-writing
his music. He made his view very clear in the introduction to his _First
Booke of Songs_ (London, 1597). He certainly wanted other people to play his
music, because he had four books of songs printed, and had
Dear List,
No browser can open an address beginning with: ed2k://
like in this:
ed2k://|file|hurel.zip|32417611|382
This is taken from page:
http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise
somewhere under:
Fac simile disponible en P2P
Jurek
To get on or o
Well, maybe...
On Jan 25, 2008, at 5:47 AM, Stewart McCoy wrote:
> I have been told, I hope reliably, that, if, at the time of
> Dowland, you wanted to attack an army of soldiers armed with
> muskets, you would first send a small group of soldiers ahead to
> draw their fire. Before the enem
Paul Keiffer wrote...
"All this talk about the last chord: yes i understand it is written major
and its what dowland said, but i dont think it is that big a deal when you
take the interpretation as a whole. Edin's performance was remarkably well
crafted, and imo he brought out the structure of the
From: "David Rastall" <[EMAIL PROTECTED]>
"Sticking to the script" is most admirable, as is cultivating a sense
of "humility and respect for the composer." Indeed you may be sure
that these things would certainly have been endorsed by the composer
himself, especially the latter! ;-)
But
On Jan 25, 2008, at 8:47 AM, Stewart McCoy wrote:
> I enjoyed much of Karamazov's performance, not least the way he
> kept the rhythm steady, unlike so many self-indulgent players today
> who constantly play around with the tactus...
> ...It is an emphatic statement, and a fitting climax to a
I expected Count Dracula to pop out from a barrel, that would have been
great... and the candles, wow, the candles..
Donatella
- Original Message -
From: <[EMAIL PROTECTED]>
To: "Lutelist"
Sent: Friday, January 25, 2008 7:52 AM
Subject: [LUTE] Re: Karamazov...
Roman Turovsky wro
Dear Taco,
Thanks for the Wikipedia link, which confirms what I wrote in my last
e-mail. I had been told about the military meaning of Forlorn Hope about 30
years ago, possibly from a member of the Sealed Knot, and I checked the
etymology of the phrase in Chambers Dictionary before writing to
On Jan 25, 2008, at 3:12 AM, Taco Walstra wrote:
On Friday 25 January 2008 07:52, [EMAIL PROTECTED] rattled on the
keyboard:
a) The musical performance: I think K plays the piece in a very
guitaristic (in the 20th century sense) way, vertically, not
horizontally More often than the melodies
On Friday 25 January 2008 14:47, Stewart McCoy rattled on the keyboard:
> Dear All,
>
> I have been told, I hope reliably, that, if, at the time of Dowland, you
> wanted to attack an army of soldiers armed with muskets, you would first
> send a small group of soldiers ahead to draw their fire. Befo
There are some out there who think Monk was a sloppy player.
Karamazov is also a Monk fan (as I am, as well), and,
guess what-
he recorded a few Monk tunes on a small THEORBO (single-strung). Very well
done.
RT
- Original Message -
From: "gary digman" <[EMAIL PROTECTED]>
To: "lutelist
From: "Stewart McCoy" <[EMAIL PROTECTED]>
It is an emphatic statement, and a fitting climax to an extraordinary
piece of music. To play a wrong note deliberately in the last chord, not
only discredits the composer, it also insults the listener. In terms of
musical logic, it is like a lawyer st
I had no idea most musicologists believed that.
Holmes' cadential doodlings are visible on the
unused pages (well, slightly used, I guess).
Souping up Dowland was a cottage industry of sorts.
The mss are remarkable well preserved, no doubt
due to the frosty peat bog temperature of CUL.
Other th
http://pagesperso-orange.fr/jdf.luth/
has it all.
DS
On Jan 25, 2008, at 4:35 AM, Duncan Midwinter wrote:
Does anyone know where I can get hold of sonata 36 d-minor Dresden
by Weiss?
--
Duncan Midwinter
midwinterDesign creative website design
http://www.midwinterdesign.co.uk
--
To get on
Hundreds of Telemann cantatas have a BC for the gallichon. However Kuhnau,
JSB's predecessor. did ask for permission to obtain a pair but his request
wasn't approved - possibly the problem was not just procuring the instruments
but getting, and paying, the players.
Yes, the large gallichon
Dear All,
I have been told, I hope reliably, that, if, at the time of Dowland, you wanted
to attack an army of soldiers armed with muskets, you would first send a small
group of soldiers ahead to draw their fire. Before the enemy could reload, the
rest of your army attacked them. Needless to sa
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: Friday, January 25, 2008 11:00 AM
To: lute-cs.dartmouth.edu
Subject: [LUTE] Re: Karamazov...
>Cadence probably not by Dowland, so OK to write your own.
Any evidence?
>Look at the wandering excursions in the Holmes ms
Late to the party, sorry..
Nice piece. What a cool piece. What a really cool piece.
Cadence probably not by Dowland, so OK to write your own. Look at the
wandering excursions in the Holmes mss. for examples.
Stylistcally eccentric, but, most recordings of ren music do not
display a thorough kn
http://perso.wanadoo.fr/jdf.luth/
- Original Message -
From: "Duncan Midwinter" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Friday, January 25, 2008 10:35 AM
Subject: [BAROQUE-LUTE] Weiss suite 36
> Does anyone know where I can get hold of sonata 36 d-minor Dresden by
> Weiss?
>
Complete Dresden for free here:
http://luthlibrairie.free.fr/?Baroque:Allemande
..I say 'for free', but you might consider making a donation.
Rob
www.rmguitar.info
-Original Message-
From: Duncan Midwinter [mailto:[EMAIL PROTECTED]
Sent: 25 January 2008 09:36
To: [EMAIL PROTECTED]
S
Does anyone know where I can get hold of sonata 36 d-minor Dresden by Weiss?
--
Duncan Midwinter
midwinterDesign creative website design
http://www.midwinterdesign.co.uk
--
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Is there somebody out there who thinks Thelonius Monk was incompetent?! FYI
Monk was a master stride pianist among other things. Stride piano is one the
most challenging jazz styles. If you think Monk was incompetent, I challenge
you to play a couple of choruses of " Trinkle Tinkle". Then we'll ta
Probably the usual continuo Gallichon ie the large (usually single strung)
instrument in A (tuned C D G c e a) with a string length c.95cm (the
Edlinger in Prague is a good example).
MH
Thanks. Sounds like a useful continuo instrument, by the way. Is there
anything known on why these instru
Probably the usual continuo Gallichon ie the large (usually single strung)
instrument in A (tuned C D G c e a) with a string length c.95cm (the Edlinger
in Prague is a good example).
MH
LGS-Europe <[EMAIL PROTECTED]> wrote:
Rather OT on the Karamazov list, but I'll give it a try anyway:
On Friday 25 January 2008 07:52, [EMAIL PROTECTED] rattled on the keyboard:
> Roman Turovsky wrote:
> > http://fr.youtube.com/watch?v=rVWvfnGpF-Y
>
> Very good and activating provocation, Roman. You really made the list
> talk about important and interesting matters. Well done and thanks for
> that
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