If you read the previous messages, and specially, the one from Arthur
Ness, you may notice that some of the arciliuto obligato parts in
Dresden opera would be by Weiss's own hand. So it seems that arciliuto
was eventually practiced by him, at least on stage: it looks that
arciliuto
This doesn't address the point I made to you: that the fundamental
difference between the archlute and the theorbo is in the manner of
stringing - theorbos have the top one or two courses lowered from
nominal; archlutes do not. If you don't think this is the case then, to
repeat,
You write below that ' You could argue based on this quote that no one
played the gallichon,'.
How does the quote you give suggest that no one played the gallichon?
MH
__
From: David Tayler vidan...@sbcglobal.net
This quote is part of a letter, and I think most letters show a very
personal point of view.
Also Weiss clearly states that he gives his opinion.
He doesn't want to be descriptive or prescriptive at all beyond the fact
that he describes his playing and opinion on the lute!
BTW - this letter
On Tue, 28 Jan 2014 09:59:29 + (GMT), Martyn Hodgson wrote
This doesn't address the point I made to you: that the fundamental
difference between the archlute and the theorbo is in the manner
of stringing - theorbos have the top one or two courses lowered
from nominal; archlutes do
On Tue, 28 Jan 2014 11:56:46 +0100, Markus Lutz wrote
This quote is part of a letter, and I think most letters show a very
personal point of view.
Yes, this is important to point out.
Also Weiss clearly states that he gives his opinion.
He doesn't want to be descriptive or prescriptive at
Have a look at:
a) the early sources (Bob Spencer's famous paper still represents a
good summary http://www.vanedwards.co.uk/spencer/html/index.html );
b) tablatures identified for the two instruments and the tuning
required
MH
Iconographic sources depict theorbos and/or archlutes with highly
variable numbers of courses and stringing setups. Unfortunately we have
no way of knowing how any particular instrument was tuned. Modern gut,
since its characteristics are quiet different from historical gut, does
Dear Chris,
Indeed Chris, as I also pointed out earlier, there is much variability
in appearances though the tablatures (where extant) are generally clear
(regarding the tuning required). But you ask about the point of this
conversation. It is in the email query sent earlier to DT,
Am 28.01.2014 12:36, schrieb R. Mattes:
On Tue, 28 Jan 2014 11:56:46 +0100, Markus Lutz wrote
He criticises that theorbos often - he even says ordinarily -
are played with nails and therefore have a coarse, harsh sound
(also primarily his opinion!).
Hmm, that's not what he writes - he
On Tue, 28 Jan 2014 11:35:20 + (GMT), Martyn Hodgson wrote
Have a look at:
This is either a non-answer (how utterly Zen) or pretty close to an
(ad hominem) insult.
a) the early sources (Bob Spencer's famous paper still represents a good
summary
I'm sorry you find Bob Spencer's paper so very poor.
My point about the tablatures (rather than staff notation) is that it
is with these that we find an unequivocal indication of the tuning
required for a particular named instrument. I'm not aware of any
tablature sources which
On Tue, 28 Jan 2014 17:10:18 + (GMT), Martyn Hodgson wrote
I'm sorry you find Bob Spencer's paper so very poor.
No need to be sorry, esp. since I don't find Spencer's paper very poor
(where did I write
that?). I only tied to say that it a) shows it's age b) seems to be an
overview-type of
Chris-
Modern gut,since its characteristics are quiet different from historical gut, does
not provide an empirically reliable metric to determine pitch or tuning based upon string
length.
This bit I find very interesting. Except for the vexed problem of gut
bass strings, with their
For those of you who are LSA members, we are doing something new with
the Membership Directory this time. Instead of sending it to everyone
we are sending it out only to those who request it. It is available by
snail mail (post office) and also as a pdf. So if you would like a copy
email
On Tue, 28 Jan 2014 09:36:47 -0800, Dan Winheld wrote
Chris-
Modern gut,since its characteristics are quiet different from
historical gut, does not provide an empirically reliable metric to
determine pitch or tuning based upon string length.
This bit I find very interesting. Except for the
The LSA is putting together a list of luthiers to go on our web site. We
want to have a list of builders that the people who are new to the lute
can contact, and so we hope you can recommend luthiers who should be on
the list. We are not especially looking for the person who builds 1-2
lutes
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