Well done, Arto! You manage your new 11-course well. It is a different
animal, I agree, in many ways.
The sound is really quite
rough.
Hard to judge from YouTube, but yesterday my fellow lute player in the
Maria Vespers brought his new Zoom-Q3, and I saw camera and microphone
are all in the
Dear Arto
I found that varnished treble gut (which I think Sofracob may
be) was more scratchy than plain or oiled gut; but also some makes are
slightly rounder sounding (Baldock Cathedral, in particular) or
brighter than others. The bright ones tend to emphasize
http://www.youtube.com/watch?v=wbihntVfdKo
and two others:
http://www.youtube.com/watch?v=ITNFt5Si48I
http://www.youtube.com/watch?v=2DoioUweBLs
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***
To get
Thanks David, nice strumming!
-Mensaje original-
De: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] En nombre
de David van Ooijen
Enviado el: jueves, 17 de diciembre de 2009 08:39
Para: lutelist Net
Asunto: [LUTE] another day at the office
Hi Steven,
I am sorry to hear that you have suffered a similar fate,
particularly with two instrument makers!!! Interestingly, after about
one day of lutelist discussions about this that I generated, I did
finally get an e-mail from Faria, the first one in about twenty-two
May I ask what evidence there is that Monteverdi intended a baroque guitar
to be included in the continuo group in the Vespers?!!
I know you can take a white horse anywhere, perhaps even a white
elephant.but the baroque guitar? What ever next? the ukelele?
Monica
-
I suspect the same evidence that tells us of the general use of the
theorbo by JS Bach at St Thomas's Leipzig
MH
--- On Thu, 17/12/09, Monica Hall mjlh...@tiscali.co.uk wrote:
From: Monica Hall mjlh...@tiscali.co.uk
Subject: [LUTE] Re: another day at the office
To:
Remind me of a old joke about an Armenian who was selling
a green horse at the marketplace. When asked why the horse
was colored so unusually, he replied:
It is mine, and I paint is any color I see fit.
RT
- Original Message -
From: Monica Hall mjlh...@tiscali.co.uk
To: David van Ooijen
Ton Koopman uses b-guitar in JSB cantatas. Go figure.
RT
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Thursday, December 17, 2009 9:43 AM
Subject: [LUTE] Re: another day at the
The problem lies elsewhere:
A number of individuals in Savall's close circle (Lislevand, Smith et al.)
are closet-composers (including Savall himself).
So they are simply looking for an outlet of their aristophilia.
RT
- Original Message -
From: Nicolás Valencia niva...@gmail.com
On Dec 17, 2009, at 6:32 AM, Monica Hall wrote:
May I ask what evidence there is that Monteverdi intended a baroque
guitar to be included in the continuo group in the Vespers?!!
That would be the least interesting of the performance practice
questions you could ask. You might also ask about
On Thu, Dec 17, 2009 at 3:32 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
May I ask what evidence there is that Monteverdi intended a baroque guitar
to be included in the continuo group in the Vespers?!!
I have no idea, but your abundant use of exclamations marks after the
question mark tells
Eduard Drach sings the _complete_ traditional duma On the razing of
Zaporozhian Sich
http://www.reverbnation.com/tunepak/2140701
The event that inspired it:
http://en.wikipedia.org/wiki/Zaporozhian_Sich#Destruction
Enjoy,
RT
To get on or off this list see list information at
Well- if you have to be stuck in an office job, you've got one of the
better ones. Not as funny as The Office but much easier on the eyes
and especially the ears. Jeez, what a dress code!
--
To get on or off this list see list information at
Nicolás,
people are different, and that's a good thing. If you credit that
booklet with having guided you to the baroque lute, then that's a good
thing, too.
Perhaps you refer
to the chapter An update on performance practice, which is a bit severe
against the historically authentic
No - they are meant to express surprise that anyone should think it was
necessary.
Getting on with the job doesn't wholly justify something which is wholly
inappropriate - which is why I asked the question.
Monica
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
Well that sounds promising. I think actually completing outstanding orders
will go a long way to repairing his reputation and may even drive more business
to him if he shows dedication enough to overcome hardship and meet his
responsibilities.
I sent him my new email but, just in case, he can
On Thu, Dec 17, 2009 at 5:57 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
[use of b-guitar in Monteverdi's Maria Vespers]
inappropriate
Can you tell us why you think so?
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
On Thu, Dec 17, 2009 at 5:57 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
Getting on with the job doesn't wholly justify something which is wholly
inappropriate
Wholeheartedly agreed. My job for these 20-odd years includes playing
Monteverdi's Maria Vespers a number of times every year; it's
OK, I've bought the CD so I'll pipe in.
I think it was a good and interesting idea, but not particularly well
executed. Several of the movements became way too busy to appreciate
the musical line. Reminded me of the quote that every good author
needs a good editor.
Oh, and
What do lute makers today use for basses on 'late' medieval lutes? Wound
strings? Or huge gut ones. I've had a couple of bad experiences with low
gut strings in the past: they were unplayable except as open strings.
I'm imagining a five-course lute, tuned as Ramos de Pareja says:
G-c-f-a-d',
Not just at the moment. It would take too long and I fear my comments
would fall on stony ground.
I first heard the Vespers performed fifty years ago so I think I have heard
every possible permutation of it. I can't say that adding the baroque
guitar this piece did anything for me ...but
Very, very nice David! And nice kind of an office you have... ;)
And the baroque guitar really suits and adds up to certain parts of the
Maria vespers by Monteverdi. No question of that instrument being
inappropriate to the sacred music of M's time and place! There are lots
and lots of sacred
I can't believe this - it is all nonsense. There is a difference between
sacred songs which may be dance like and intended to be performed in a
domestic setting and music to be performed in a liturgical context.
The problem with so many performers today is that they know little about
Danny,
let me make myself clear. I find that quote at least as offensive as you
do in both directions, autistic people and French baroque lute music.
When my friend said it, I understood the word autistic in the sense of
world apart, beyond recognition.
In that sense, I'm suspicious that it was
Evidence of guitar in the 1610 Vespers: no.
Evidence of guitar with voice in Italy at this time: certainly. James
Tyler in his book The Early Guitar gives a four-page listing (pp 96-99)
of Italian printed songbooks with alfabeto, starting with Kapsperger in
1610 and with many
Peter Martin écrit:
Evidence of guitar in the 1610 Vespers: no.
Evidence of guitar with voice in Italy at this time: certainly. James
Tyler in his book The Early Guitar gives a four-page listing (pp 96-99)
of Italian printed songbooks with alfabeto, starting with Kapsperger in
1610
Here is Gerard Rebours, writing about the guitar in France, admittedly
not Italy, but early in the 17th century, in alfebeto-only times (as far
as publications are concerned):
...the guitar appeared in 'charivaris', in comical and grotesque
situations, associated with Spaniards or Italian
Well, in my ultra-catholic town's church, seminarists play guitar during the
mass imitating pop songs, which is really awful (I'd rather prefer David's
b-guitar).
-Mensaje original-
De: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] En nombre de
Monica Hall
Enviado el:
I am not a player of either theorbo or Baroque guitar. But I've heard
them in performances, and I've wondered how often the player has made
the choice for the guitar simply because that way there is a chance it
will be heard. Sometimes the number of string players is too large, or
On Dec 17, 2009, at 2:54 PM, Suzanne and Wayne wrote:
But a
theorbo among a string orchestra of even 3/3/2/1 on a part will
simply
not be heard in my listening experience.
You mean you don't hear much of it as a discrete, identifiable
sound. What you don't know is how different the
I think David's question was whether there was some authority for
this proposition other than yourself.
On Dec 17, 2009, at 1:05 PM, Monica Hall wrote:
I can't believe this - it is all nonsense. There is a difference
between sacred songs which may be dance like and intended to be
performed
Dear Lute List Friends,
I am looking for a lute teacher who will be my mentor in the ways of
the lute. I have a 1977 Michael Schreiner lute, which was built for
me when I was a wild teenager who got sucked into the charismatic
lute vortex.
Please take a look at this vid clip of me (no
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