Thanks for the info Anthony, quite interesting.
I do hope he returns to the theorbo someday...
From: Anthony Hind [EMAIL PROTECTED]
Date: Thu, 28 Feb 2008 19:02:10 +0100
To: Rob MacKillop [EMAIL PROTECTED],
baroque-lute@cs.dartmouth.edu
Subject: [BAROQUE-LUTE] Re: [BAROQUE-LUTE] Re:
Hello all,
That is a really nice performance, thanks for that link!
By the way: there are still a large numer of CNRS lute editions available
directly from CNRS in Paris.
You can order online: http://www.cnrseditions.fr/catalogue/recherche.html
Just type in the name of the composer. The Mercure is
Thanks everyone for the responses so far!
The info on wind instruments and the prevalence of +/- 392Hz etc. is
clearbut I am just not convinced yet...
For most string instruments, the usual method was to tune the highest note
as high as comfortable, and go from there.
Especially when used for
to Dowland is no longer applicable here, in French
Baroque music.
Anthony
Le 14 fevr. 08 =E0 12:57, Rob MacKillop a ecrit :
On 14/02/2008, T. Diehl-Peshkur [EMAIL PROTECTED] wrote:
For most string instruments, the usual method was to tune the
highest note
as high as comfortable, and go from
Hello Anthony, Martin and all,
Not wanting to add any more info to the full discussion that has been going
on here, I would like to ask a
general question on the string issue: How often does one come across frets
being stopped on courses 11, 10, 9, 8 or 7 ?
Sure there will be examples, but what I
Hello all,
Indeed, even regarding gut strings, it all seems so complicated.
I am in principle really happy with the Larson strings on my 11 course, but
at 392 the basses of course work less well than at 415,
although everything really stays in tune quite well (in my home) actually
even better than
I think the confusion is also increased by the use of Jacques Gallot rather
than Gallot le Vieux on Hopi's Gallot recording...
From: Mathias R=F6sel [EMAIL PROTECTED]
Date: 27 Dec 2007 12:29 GMT
To: baroque-lute@cs.dartmouth.edu
Cc: Anthony Hind [EMAIL PROTECTED], T. Diehl-Peshkur
[EMAIL
Or, might I add an even simpler suggestion: because it sounds interesting...
The doubling of parts exists in all kind and and periods of musicmaking,
often just for the coloration it provides
From: howard posner [EMAIL PROTECTED]
Date: Sun, 23 Dec 2007 08:07:36 -0800
To: baroque Lutelist
Hello Anthony et al,
I am very interested in this topic that is presently being discussed, but it
reminds me a lot
of the so-called =8Ccanals' on Mars that everyone insisted they saw, even
though there was nothing there.
Looking at the pictures here coldly and without any prejudice one way or
Who can tell ? :-)
However it does make it clear that borrowing from yourself, and
copying/pasting (with or without transpositions)
it seems were a part and parcel of the great composers- all points regarding
the =8Carchitectural formality' of the suite form aside...
Theo
From: H L Pakker
PROTECTED]
Date: Sun, 16 Dec 2007 08:06:05 -0600
To: T. Diehl-Peshkur [EMAIL PROTECTED], baroque-lute@cs.dartmouth.edu
baroque-lute@cs.dartmouth.edu
Subject: Re: [BAROQUE-LUTE] Stringing
All baroque lutes, to my knowledge, were strung with octaves at the 6th
course. I do not understand what you mean
-Original Message-
From: T. Diehl-Peshkur [mailto:[EMAIL PROTECTED]
Sent: 08 December 2007 16:48
To: [EMAIL PROTECTED]; baroque-lute@cs.dartmouth.edu
Subject: [BAROQUE-LUTE] Re: Theorbo
Hello Rob,
Name's Theo :-) Thanks for the info.
I assumed that the old renaissance lute tuning
I had a request to all the performers/teachers among you here. Any
help would be appreciated.
I am on a waiting list for a theorbo to used only for solo music, almost
exclusively late
(like de Visee) although it might occasionally be used to play with very
small ensembles
at home, or a few early
. Some players prefer seven for
continuo reasons. At the string length you are thinking about, you could
tune it in D, as in the small French theorbe de pieces.
Rob
www.rmguitar.info
-Original Message-
From: T. Diehl-Peshkur [mailto:[EMAIL PROTECTED]
Sent: 08 December 2007 15:24
To: [EMAIL
: Fri, 30 Nov 2007 00:03:29 -0800 (PST)
To: T. Diehl-Peshkur [EMAIL PROTECTED], baroque-lute@cs.dartmouth.edu
Subject: Re: [BAROQUE-LUTE] Re: 13 course rider/swan
- Original Message
-Half of Weiss' output is for 11 course lute (the entire London MS, with
only a few exceptions).
Now I
Dear all,
I know this subject has been discussed before, and I have recently followed
the interesting discussions on the d minor continuo lute
the last week. However, regarding the choice of rider vs. swan necked
instruments for solo work, I have checked the archives, but I still
have some doubts
Hello,
Today I had the time to look through part of the facsimile of Vol. 1 of the
Peters Edition of Weiss (London Manuscript).
My search was specifically for pieces by Weiss that use only 11 courses, not
13, since I am lucky to be
picking up a new 11 course lute in October. I came across some
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