Spike Jones said, If you're going to shoot off a gun in a tune, you better
have good time.
Gary
- Original Message -
From: Sean Smith [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Sunday, March 23, 2008 9:02 AM
Subject: [LUTE] Re: Karamazov as a circus musician
For the
.even for an idiot like me !
You have said it all.
Thank you Alfonso, but please try to understand that not everyone
is handsome, talented and clever like you are. Your lutevoice website is
probably one of the best i ever seen. I am sure you have enough concerts
around the
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Saturday, March 22, 2008 5:02 PM
Subject: [LUTE] Nina bass line
|I have to reverse engineer a 'proper' bass line to Nina
(canzonetta), long
| wrongly attributed to Pergolesi but actually by Legrenzi
Given the editorial history of these pieces, one
has a right, even if overly doubtful, to be doubtful.
And perhaps they are doubtful, in any case.
Though for a real opera imagina, look at the
Siena Pianoforte recording of Scarlatti and Mozart jacket notes.
Anyway, what would be cool is to
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Sunday, March 23, 2008 4:01 PM
Subject: [LUTE] Re: Nina bass line
| Here's a poor score from those song antholgies:
|
| http://www.el-atril.com/partituras/Pergolesi/Nina.pdf
|
|
| Thank
You've got a Xerox of the score in Modena, David.
UC Berkeley Music f M2.8.R47 T7 UCB Case X
And one of the librettos is on-line in digital format if you
subscribe to Gale.
As far as I know, the song first appears with piano accompaniment
almost 100 years after the opera. Attr. to Pergolesi.
LGS-Europe écrit:
Can someone with the book identify the composers from the following titles
and their number in the MB volume 25?:
According to their website, this music in this volume is by Richard Dering:
Volume 25 Richard Dering: Secular Vocal Music
Dennis
To get on or off this
I'm working on a project involving mid-18th-century dance music mostly
from France, Belgium and Austria. I'd like to have a non-keyboard
plucked instrument in the bass. What are my options besides theorbo,
archlute, harp? Mandora and Colascione come to mind - is there
anything else?
Arthur wrote:
Separately I sent a reference for the authentic edition of the
Italian anthology (ed. Paton). The one you were looking for.
Yes, a good edition actually. It has the songs from Arie Antiche with good
translations, pronounciation guide, facsimile if available and a more 'hip'
These are the Italian originals Dering added English lyrics to in his
edition of 1620.
I'm interested in the names of the Italian composers. But the concert is in
two hours from now. ;-) Anybody?
David
- Original Message -
From: dc [EMAIL PROTECTED]
To: LGS-Europe [EMAIL
Viol.
dt
At 03:06 AM 3/24/2008, you wrote:
I'm working on a project involving mid-18th-century dance music mostly
from France, Belgium and Austria. I'd like to have a non-keyboard
plucked instrument in the bass. What are my options besides theorbo,
archlute, harp? Mandora and Colascione come to
Also, good look finding one, but it seems a nice
place to try out the cithrinchen which became
folkified as the Thüringer Waldzither in some of the areas you describe
mid 18th c. I've always wanted a Tielke knock off.
I assume you've looked into guitar variants as well.
dt
At 03:06 AM
I think the advantage to putting this info online, not just for
musicologists with Case X access (the x files),
is for the average musician/voice student who has ben fed dreadful
versions of pieces--
pieces that could provide a terrific reason to study early music.
Also, by putting it online,
I thought of viol - that was actually my first choice after bassoon -
but I'm wondering about bass instruments that I don't know about. The
little cittern is too small for bass, but I've been lusting after a
Tielke myself for a very long time. Baroque guitar and chitarra
battente also
Unfortunately I am currently unable to back this up by a hard copy, but the
Nina it its present form (i.e. as it appears in AA etc. is SEVERELY (and
happily) RECOMPOSED, in comparison with the simple and cheesy original,
which starts with a 5th jump rather than 1-3-5, has a repeat of the 1st
At 07:24 PM 3/23/2008, [EMAIL PROTECTED] wrote:
On 3/24/2008, igor . [EMAIL PROTECTED] wrote:
dear mr. giuliani
professional lutenist should have more different sized lutes (
guitars )
instead of cheap bluegrass capo ! orlearn to transpose ( maybe )
Could you, Mr., Mrs,
I've thought of French arch-citterns and double-neck citterns, too.
What I'd really like is bandora... Perhaps there was a bass cittern,
like the one in the painting by Saftleven.
On Mar 24, 2008, at 12:47 PM, David Tayler wrote:
Also, good look finding one, but it seems a nice place to try
Hi,
He replied to me after several weeks, just recently, I was inquiring about a
medieval lute, but his advertised prices on the Web are way lower than what
they really are...so I am still debating if I will order a medieval lute
from him. There is less advantage for me to look a for a lute so
At 06:06 AM 3/24/2008, Doc Rossi wrote:
I'm working on a project involving mid-18th-century dance music mostly
from France, Belgium and Austria. I'd like to have a non-keyboard
plucked instrument in the bass. What are my options besides theorbo,
archlute, harp? Mandora and Colascione come to mind
Thanks, Eugene - I'd thought of these, too. Maybe I'm looking for
something that doesn't exist.
On Mar 24, 2008, at 1:58 PM, Eugene C. Braig IV wrote:
At 06:06 AM 3/24/2008, Doc Rossi wrote:
I'm working on a project involving mid-18th-century dance music
mostly
from France, Belgium and
Dear David,
I would also be interested to know more about how capos were used in the
past. I have an old English guitar from about 1760, which has four holes
in the neck through which one can screw a capo. Capos would have to be
curved to match any curve on the fingerboard, and frets would need
I've never looked into the scholarship behind this, so can't vouch, but
this appears on the surface to be amusing and informative:
http://web.telia.com/~u86505074/capomuseum/
Eugene
At 10:18 AM 3/24/2008, Stewart McCoy wrote:
Dear David,
I would also be interested to know more about how capos
If the Capo Museum is right, your guitar Stewart is from the mid-19th c!
- Original Message -
From: Stewart McCoy [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Monday, March 24, 2008 3:18 PM
Subject: [LUTE] Capos (olim Karamazov as a circus musician)
Dear David,
I
The works were originally in Italian, published by Dering in
Antwerp in 1620. Actually I do not know who made the English
translations.
=AJN (Boston, Mass.)=
Free Download of the Week
Wagner's Siegfried Idyll
performed by the Royal Philharmonic Orchestra; Christopher
Seaman,
At 10:54 AM 3/24/2008, G. Crona wrote:
If the Capo Museum is right, your guitar Stewart is from the mid-19th c!
I don't know the specifics of Stewart's guit[t]ar or which page you are
considering at the Capo Museum, but Both the yoke capo with screw and the
wooden Spanish capo cejilla were
Hi Eugene,
I was referring to this page, but also noticed the text you mentioned on the
history page. Is the webmaster contradicting himself?
Best
G.
- Original Message -
From: Eugene C. Braig IV [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Monday, March 24, 2008
At 11:10 AM 3/24/2008, G. Crona wrote:
Sorry ;)
http://web.telia.com/~u86505074/capomuseum/Above/above.htm
Hmmm... I don't know, but suspect that to be a typographic error in which
18th century morphed into 1800s somewhere between mind and fingers.
Eugene
To get on or off this list see
There's also a microfilm of the Modena score at UCB. It would be
easy to use it for a digital file.
=AJN (Boston, Mass.)=
Free Download of the Week
Wagner's Siegfried Idyll
performed by the Royal Philharmonic Orchestra; Christopher
Seaman,
conductor.
For this week's free download
Fortunately you are not right. :-) The section on the history of the
capo says that the screw-through-the-neck capos were in use in the late
1700s:
Both the yoke capo with screw and the wooden Spanish capo cejilla were
invented in the late 1700's. The yoke capo still looks the same, and the
Must have sent too many mails today, as this one never arrived:
Stewart wrote:
The big problem is having a capo which provides enough pressure to hold
all the strings down without buzzing. Modern ones use elastic or a kind
of spring mechanism, but I don't know how feasible that was in the
On Mar 24, 2008, at 7:18 AM, Stewart McCoy wrote:
Modern ones use elastic or a kind
of spring mechanism
Not all. I have an earlier version of this one:
http://www.activemusician.com/item--MC.14FD?
ref=brovchn=BIZovtac=CMPovcpn=Accessoriesovcrn=Dunlop+Professional
+Guitar+Capo+%2D+Flat
On Mar 24, 2008, at 11:34 AM, Stewart McCoy wrote:
By the way, I was given the instrument a few years ago by John Catch,
the atomic energy expert and long-standing member of the Viola da
Gamba
Society of Great Britain. He said he bought it for 10/- in the
1950s at
a jumble sale
10/-
howard posner wrote:
Modern ones use elastic or a kind
of spring mechanism
Not all. I have an earlier version of this one:
Easy to use and durable
The Dunlop is simple but genial, very good and easily adjustable. I've used
it extensibly.
G.
To get on or off this list see list
--=_Part_13105_23880445.1206381180527
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline
Here it is - hope this works!
Best,
Benjamin
On 24/03/2008, Gernot Hilger [EMAIL PROTECTED] wrote:
There is an article in Music and
*NEWLY IDENTIFIED ITALIAN MADRIGALS *
Copy paste try 2..(scroll down - sorry) *ENGLISHED *
DURING the last four decades a number of well-known scholars,
including Joseph Kerman and Alfredo Obertello,' have written
extensively about the impact of Italian vocal music on Elizabethan
* Copy paste try 1..
Newly Identified Italian Madrigals Englished
*
Richard Charteris
*
Music Letters*, Vol. 63, No. 3/4. (Jul. - Oct., 1982), pp. 276-280.
Stable URL:
http://links.jstor.org/sici?sici=0027-4224%28198207%2F10%2963%3A3%2F4%3C276%3ANIIME%3E2.0.CO%3B2-C
*
Music
Hi there,
Has that worked?
Best,
Benjamin
On 24/03/2008, Gernot Hilger [EMAIL PROTECTED] wrote:
There is an article in Music and Letters to which I have no access
(Oxford charges $23 a day!)
http://tinyurl.com/yskj29
which might contain more information.
g
On 24.03.2008, at 18:13, dc
Thank you, Benjamin.
This worked in fact. Unfortunately, there are no details about the
original composers. Charteris however states ...where they are all
unattributed... which means he thinks the pieces are in fact Italian.
g
On 24.03.2008, at 18:53, Benjamin Narvey wrote:
Here it is -
Oh, that's too bad. I didn't actually read the article, I just thought I'd
liberate that article from Oxford JStore!
Happy hunting,
Benjamin
On 24/03/2008, Gernot Hilger [EMAIL PROTECTED] wrote:
Thank you, Benjamin.
This worked in fact. Unfortunately, there are no details about the
This worked in fact. Unfortunately, there are no details about the
.. and it is already too late... 3 hours after the concert.
David's revenge will be horrible ;-))
B.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Thank you, Benjamin, that was helpful in that I now know I'm not the only
one who doesn't know. ;-)
David
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
*NEWLY IDENTIFIED ITALIAN MADRIGALS *
Copy paste try
I have to say from my own dimly lit experience, there is nothing as
cool sounding
as a cello or viol plucking the bass, arpeggiating some figured bass
and adding some little melodic fragments, with theorbo organ.
I've done a number of projects that feature this texture on some of
the tracks,
Hoi Jelma
Dank je wel! Great, yet another father to Nina. I'll be playing it in May in
Japan on my Fabricatore, so this might be the most contemporary version for
that instrument. The reason it's on the programme is that there is a
Japanese edition of the piece, and I'll be doing a programme
http://www.youtube.com/watch?v=45Z3D4c8KWI
Beautiful piece from a reliably excellent group. I believe it is Eero
Palvianen on the giraffe.
DS
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