Dear Narada,
I've played at Oakwell Hall (both solo lute and with a band) a number
of times in the past and can confirm it's a good venue for acoustics.
However this was a number of years ago when local Arts funding was more
generous and the management of places like Oakwell were a
Sauvage Valéry wrote:
> 'm not sure about what you said above, because halls at that time had
> tapestry
All of them? Without exception? How do we know this?
> and people during banquet were making
> much noise... so I believe the result of reverb would have been very
> different... ;-)))
I
I find the quality of the fretgut of Kuerschner quite acceptable.
Have a look at http://www.kuerschner-saiten.de
They have all the gauges.
Op 8 sep 2010, om 00:55 heeft Sam Chapman het volgende geschreven:
> Dear lutelist,
> Sofracob used to make great fretgut: strong, consistant (I even used
-Message d'origine-
À : LuteNet list
Objet : [LUTE] Re: Marco dall'Aquila / O'Dette
> and the sound is very likely what you would have heard 15 feet from the
lute (or what one of Marco's contemporaries would have heard him playing
> from down the banquet table).
I'm not sure about wha
"Small rain"?
"Drizzle"?
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On Sep 7, 2010, at 2:29 PM, Narada wrote:
> Yes Howard, you are right, I didn't read the notes.
That's what happens with a lot of lute players who get too attached to
tablature.
> It must be a very spectacular building to get sound
> refelctions like that.
I'm not sure how unusual it is that
Dear lutelist,
Sofracob used to make great fretgut: strong, consistant (I even used it
as a string in several emergencies!), available in long lengths, and
cheap. Now that it's no longer available, does anyone know a good
alternative? I've tried Aquila but the gut was hopelessly soft
Yup, actually two photos. It's right there on the daybed in the Great
Parlour. It looks like it would be a wonderful venue for a concert.
Too bad I'm here in New England.
Chris.
>>> "Narada" 9/7/2010 5:53 PM >>>
In fact if you go to 'Friends of Oakwell Hall ' there are some ve
In fact if you go to 'Friends of Oakwell Hall ' there are some very good
photo's, including one that has a Lute in it.
Have a look.
Neil
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of howard posner
Sent: 07 September 2010 21:44
To: Lute
Yes Howard, you are right, I didn't read the notes. However I have now, and
I shall listen again. It must be a very spectacular building to get sound
refelctions like that.
As there are very few Lute Recitals given here in the north of England (
Yorkshire ) I don't have much appreciation of the '
I also didn't like the sound at first hearing. I couldn't get past the
"reverb". However, since then I have grown to love this recording. Now I
can't get past the astonishing artistry.
On a related note, early in the current release The American our hero goes
to a small village in Italy. H
Yup. Why have both?
II'll be playing the 11's on the top string, just in case :)
d
At 01:53 PM 9/7/2010, you wrote:
>On 7 September 2010 22:21, wikla wrote:
> > in my quick look around to Caccini's Nuove Musiche (1601) my eyes did not
> > find any "4-3"'s or "4-#3"'s, but lots and lots "11-10"'s
No answers - just a reminder that it's not a theorbo, Jim, it's a
chitarrone, which at this period is probably not the same thing, though
the crucial re-entrantness of the tuning of both (?) doesn't help us
resolve the octave of the 4-3.
Martin
David van Ooijen wrote:
Agreed. Which leaves u
On 7 September 2010 22:21, wikla wrote:
> in my quick look around to Caccini's Nuove Musiche (1601) my eyes did not
> find any "4-3"'s or "4-#3"'s, but lots and lots "11-10"'s.
The first madrigal has both. But even if 11 10 is more prevalent in Le
Nuove Musiche, the fact remains that in some edit
On Sep 7, 2010, at 12:51 PM, David Tayler wrote:
> A Hasenfuss will sell, for sure.
> I have to say, if one really wants to sell a big ticket lute, higher
> an engineer for one hour and making a short recording would probably
> be a good investment.
> dt
For you, it might be. But I'd also have
On 07/09/2010 19:52, David van Ooijen wrote:
On 7 September 2010 20:33, David Tayler wrote:
steps. You can also set the metronome low, and advance a click every
few days, but this only really works in conjunction with streamlining
the motion of the right hand.
I have another take on this. St
On Sep 7, 2010, at 12:59 PM, Narada wrote:
> I recently purchased this CD.
..but didn't read Paul's insert notes?
> The sound quality is awful, it is completely
> washed out with 'Hall Reverb' The individual notes can hardly be seperated
> in some of the faster passages. This recording needs rem
Dear David van O. and the List,
in my quick look around to Caccini's Nuove Musiche (1601) my eyes did not
find any "4-3"'s or "4-#3"'s, but lots and lots "11-10"'s. Perhaps tomorrow
I'll do a thorough check, if anyone isn't quicker... ;-)
Perhaps that could be a basis of taking those markings as
I recently purchased this CD. The sound quality is awful, it is completely
washed out with 'Hall Reverb' The individual notes can hardly be seperated
in some of the faster passages. This recording needs remastering and the
level of reverb reduced massively. If anything the reverb should only add a
On 7 September 2010 21:55, David Tayler wrote:
>
>>This is like a poem.
With typos. |-(
David
--
***
David van Ooijen
davidvanooi...@gmail.com
www.davidvanooijen.nl
***
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http://www.cs.d
>This is like a poem.
>I have another take on this. Study slowly and precisely. Streamlining
>the motion of both hands. In other words, know what the fingers do,
>get rid of superfluous movements and work on muscle memory. Slowly,
>don't speed up. Don't fall into the trap of studying your mis
A Hasenfuss will sell, for sure.
I have to say, if one really wants to sell a big ticket lute, higher
an engineer for one hour and making a short recording would probably
be a good investment.
dt
At 11:33 AM 9/7/2010, you wrote:
>On Sep 6, 2010, at 5:44 AM, Graham Freeman wrote:
>
> > For those
I think if the figures were more prescriptive rather than suggestive,
there would be greater similarity in the sources.
But the sources differ widely in the realization. Even Caccini's own
sources differ. One should not take a later source as definitive, and
I recommend Carolyn Abbate's article
On 7 September 2010 20:33, David Tayler wrote:
> steps. You can also set the metronome low, and advance a click every
> few days, but this only really works in conjunction with streamlining
> the motion of the right hand.
I have another take on this. Study slowly and precisely. Streamlining
the
On 6 September 2010 22:06, wikla wrote:
> I wouldn't be too worried of Caccini's numbers. I take the 4-#3's same as
> the 11-#10's
You're welcome to it, together with the rest of the theorbo playing
world (that includes me, don't worry, no harm intended). But Caccini
(in his first book anyway) w
On 6 September 2010 22:25, David Tayler wrote:
> The "second" sharp is a retroactive sharp, unless, of course there is
> a compelling need for chromaticism.
Love the word: 'retroactive sharp.' Yes, I'd say so, from the looks of
many, many instances. But a few ... When does the need for chromatism
On Sep 6, 2010, at 5:44 AM, Graham Freeman wrote:
> For those of you with some experience selling lutes on Wayne's lute
> page, I wonder if you might be able to provide some wisdom based on our
> experience. How long have people typically had to wait before selling a
> lute? I know this is a
As a lute solo, I found La Morra challenging, but not at the top
level of difficulty. There is a recording from 1994, but I can't seem
to find it. Ha! Good riddance.
I think it was mm 60, like everything else.
Just play it without the ornaments until it is comfortable, then
start to add the orna
On 07/09/2010 16:42, Martin Shepherd wrote:
Sorry, chaps, the metronome brain was rather addled. This time, lute
in hand, I'm suggesting (again, whole note beat, i.e. two beats per
bar in my edition):
La Bernardina 68
Benedictus 50
La Morra 52
It's easier to play to a half note beat of cour
It just occurred to me that anyone using my edition ("Renaissance Lute
Music from German Sources", The Lute Society, 2000) might like to know
that I have a list of errata which I can email to anyone who is
interested. There are only a few mistakes, and none of them affect the
pieces mentioned
Sorry, chaps, the metronome brain was rather addled. This time, lute in
hand, I'm suggesting (again, whole note beat, i.e. two beats per bar in
my edition):
La Bernardina 68
Benedictus 50
La Morra 52
It's easier to play to a half note beat of course (4 beats/bar), though
the whole note beats
Hi Stuart,
I love Crawford's duet versions but they are perhaps a bit fast - though
it's worth considering that in La Morra his divisions are based on
Newsidler's version.
Just a quick check with the metronome (so I may be a bit adrift): I
suggest about 66 for La Morra, 66 for La Bernardina,
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