When I say Dowland's solo lute music is not by Dowland, all I mean is
that the sources which have come down to us are not published editions
by JD himself and may mostly be arrangements of his music by someone
else. Given his reputation as a performer, this is hardly surprising.
Very few of h
Martin
I know you are fully immersed in this music (as it were) and so I am
amazed at your remarks!
Just to repeat: I haven't listened to any Dowland in a very long time
and have not tried to play any. But, of course, I have tried to play
pieces, including songs, in the past.
Y
Martyn,
It is very telling that when signs for arpeggiation - i.e. separee
slashes, the % sign in Kapsberger and others' theorbo music - are
introduced, they include no information regarding speed or rhythm. This
lack of specificity implies that the signs are merely an indication for
Since we're up to our ears in Dowland's music at the moment, you can
imagine we have a thing or two to add to the discussion. We have done
so with a little bonus post in advance of our usual Saturday series.
[1]http://wp.me/p15OyV-z6
Ron & Donna
--
References
1. http://wp.m
Dear Gary,
I think there's little doubt about the use of such chords in 19th (and
even 18th) century keyboard practice: there's quite a bit of evidence
on how they played them. But for 16th/early 17th century lute practice
hardly anything at all.
So the problem here is not that
Chris,
Interesting that you should bring up rolled chords; there was much
discussion on another list several months ago about this YouTube video:
Louis Podesta's "Your Piano Teacher Taught You Wrong"
http://www.youtube.com/watch?v=2VPgg3armCI
Gary
Dr. Gary R. Boye
Professor and Music Librar
Dear Chris,
Perhaps 'rolled' chords were common - as you say, there's no early
evidence for them which may mean they were not used or if used then not
reported. But we do know that other ways of playing chords were
reported so why not this one if it were practised?
And I see
Martyn,
The use of rolled chords, like so many things in early music
performance, has to be assigned to the "inconclusive" category. Lack of
evidence does not mean lack of practice. For example, the subject is
rarely mentioned in modern classical guitar methods even though it is
Dear Stuart,
I agree with you that we need to be wary in our (modern) assessments of
many of these works.
For example, some of these lute 'solos', both by Dowland and other lute
playing composers, may be lute parts to a consort or a duet and can
seem strangely incomplete whilst
Hi All,
I've been busy with lots of non-lute stuff, and hadn't quite got around
to commenting on this.
I agree with David T and David van O - Dowland's lute solos are a mostly
a mess, and mostly not by Dowland anyway, so I think we should do what
we can to clear up the mess and make our own
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