Hello,
I'm doing some research French baroque lute music in 1650-1700. I have
four questions and I would appreciate if anyone could help me out with any
of them. :)
1. Does anyone know of any printed lute tablature by Henri de Lenclos or
his daughter Ninon de Lenclos?
2. What is Moillement? It
I think the piece is by enemonde le Vieux who could have known L'Enclos;
Denis was much younger if I recall.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Sent: Friday, September 26, 2008 7:59 AM
To: Mathias Rösel
Cc: baroque Lutelist
Subject: [BAROQUE-LUTE] I
In fact.
RT
From: Roland Hayes [EMAIL PROTECTED]
I think the piece is by enemonde le Vieux who could have known L'Enclos;
Denis was much younger if I recall.
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
Hello,
I'm doing some research French baroque lute music in 1650-1700. I have four
2. What is Moillement? It appears in de Visés guitar books and I have
not found any clear definition of this embellishment.
I understood this as the vibrato as a cat mewing. Compare chevrement,
like a goat.
David
To get on or off this list see list information at
As a total outsider in this matter, I just wonder why the Italian
living and breathing master lutenist is unnamed as of yet.
Paul Pleijsier
Op 26 sep 2008, om 04:24 heeft Arthur Ness het volgende geschreven:
P.S. I should have posted this earlier. I found Eugene's
accusations disturbing,
Valery,
There is no such thing as a best sound or playing
position. No idea of a best way to get a sound from
a lute existed back then:
the Italians, and especially the Venetians, have
in all times excelled ...in the Consorts of grave,
solemn music, sometimes running so sweetly with
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]; Lute Net
lute@cs.dartmouth.edu
Sent: Thursday, September 25, 2008 9:44 PM
Subject: [LUTE] Re: The Pauper Prince
| Art,
|
| This is truly a fascinating story about a man whose family has a
- Original Message -
From: Paul Pleijsier [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Sent: Friday, September 26, 2008 3:19 AM
Subject: Re: [LUTE] Re: Respighi
| As a total outsider in this matter, I just wonder why the Italian
| living and
POssibly because he doesn't want to quoted, for political reasons.
The same ones another (the same?) lutenist isn't talking about the
Melchiorre Chiesa archlute Ms.
Same situation.
RT
- Original Message -
From: Paul Pleijsier [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]
Cc:
At 10:26 AM 9/26/2008, Arthur Ness wrote:
I never expected it would be so controversial. And the controversy is due
solely to ugly comments by Matanya Ophee and now Eugene what's his
name?. They are demanding information to which they are not necessarily
entitled. and seem to think they will
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Paul Pleijsier [EMAIL PROTECTED]; Arthur Ness
[EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Sent: Friday, September 26, 2008 10:26 AM
Subject: Re: [LUTE] Re: Respighi
| POssibly because he doesn't want to quoted,
- Original Message -
From: EUGENE BRAIG IV [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Thursday, September 25, 2008 11:49 PM
Subject: [LUTE] Re: Respighi
You have quite deliberately quoted private correspondence way out of
context and misrepresented or completely
At 12:02 PM 9/26/2008, Arthur Ness wrote:
- Original Message -
From: EUGENE BRAIG IV [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Thursday, September 25, 2008 11:49 PM
Subject: [LUTE] Re: Respighi
You have quite deliberately quoted private correspondence way out of
context
Arthur,
I'm curious about the lutenist who may not be
named as well. Trustworthy as this fellow probably
is, there have been bigger hoaxes before so we have to
remain sceptical until the lutenist's name comes out
or there is some verifiable publication. The
Segovia/Ponce frauds for
Presenting contemporary works as historical is a long tradition in the music
biz--
See Charles Cudworth, Ye Olde Spuriosity Shoppe, or Put in the Anhang in
Notes 12 (1954-55).
The program notes to a recent Naxos recording of Ponce's solo guitar music
recounts this episode. Segovia was
On Sep 26, 2008, at 11:40 AM, Jeffrey Noonan wrote:
Segovia was merely trying to keep up with the other international
virtuosi of the day (Landowska, among others ), who were unearthing
and performing old, obscure masterpieces--sometimes actual
historical pieces, sometimes new compositions.
At 02:44 PM 9/26/2008, howard posner wrote:
On Sep 26, 2008, at 11:40 AM, Jeffrey Noonan wrote:
Segovia was merely trying to keep up with the other international
virtuosi of the day (Landowska, among others ), who were unearthing
and performing old, obscure masterpieces--sometimes actual
Valery,
There is no such thing as a best sound or playing
position. No idea of a best way to get a sound from
a lute existed back then:
I already tell my opinion on this, and ask luthier about it . Any luthier on
the list ?
The matter of taste of ancient players and listener is
On Sep 26, 2008, at 1:03 PM, Sauvage Valéry wrote:
I already tell my opinion on this, and ask luthier about it . Any
luthier on the list ?
The matter of taste of ancient players and listener is unknown now.
You can quote this or that, and who knows what else was said ?
(same with nails
Jeff,
--- Jeffrey Noonan [EMAIL PROTECTED] wrote:
Presenting contemporary works as historical is a
long tradition in the music
biz--
So is outright stealing and piracy.
The program notes to a recent Naxos recording of
Ponce's solo guitar music
recounts this episode. Segovia was
http://en.wikipedia.org/wiki/Musical_Hoax
RT
From: [EMAIL PROTECTED]
Presenting contemporary works as historical is a
long tradition in the music
biz--
So is outright stealing and piracy.
The program notes to a recent Naxos recording of
Ponce's solo guitar music
recounts this
Collected lute wisdom,
The collegium is playing a pair of fantasies on Une Jeune Fillette by
Eustache de Caurroy this semester, and I'm supposed to figure out what
to pluck with them. They are number 31 and 32 (trenteuniesme and
trentedeuxiesme).
Has anyone seen these? What is the song they are
Dear William,
Une Jeune Fillette = first text only in Recueil de plusieurs chansons
divise en trois parties, Lyon 1557. Several hundred versions since then
- Contrafacta, instrumental and ensemble pieces. See for example in
Frescobaldi, Due messe a otto voci, Milano 1975 (Opere complete I), or
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