bill at [EMAIL PROTECTED] wrote:
vivaldi's temper
tantrums
??
Roman Turovsky at [EMAIL PROTECTED] wrote:
Handel could send his librettist packin', and write for oboe instead. I
don't think Elton could ever write for oboe.
It's not so hard to write for oboe.
Handel might indeed have sent his librettist packing when he was an
impresario in London. He
Arto Wikla at [EMAIL PROTECTED] wrote:
That was an interesting sound clip indeed!
But was it really a lute? At least at the end of the clip,
there clearly was an 12-string guitar mixed to the lute
sound!
It's Ian Anderson's six-string with a capo on the third fret, playing along
with the
Thomas Schall at [EMAIL PROTECTED] wrote:
At the video a lute appears but where in the songs? I have listend to
it *very* often and wonder ...
At the beginning of Velvet Green, with the harpsichord. And we've already
talked about Thick as a Brick. There are probably others. I daresay Ian
Greg M. Silverman at [EMAIL PROTECTED] wrote:
According to http://home.cogeco.ca/~mansion1/martinbarre.html, the only
Tull recording with Martin playing lute was Songs from the Wood
Don't believe everything you don't read on the web. The review included
with the Thick as a Brick LP notes
James A Stimson at [EMAIL PROTECTED] wrote:
6. Ian Anderson
I haven't followed this thread much, but isn't Anderson disqualified because
he wrote for lute?
Who wrote the original song?
This is what's called folk etymology. Beware acronymic explanations of
words that have been in the language for a long time (the OED records
written uses of shit in the 1300's, and it was undoubtedly around before
the Norman conquest) particularly when they're based on such obviously
strained
with the Brandenburg
Consort (and it was very nice), but I don't think every conductor would be
that tolerant.
I have to register my amusement at the thought of a conductor tolerating
Nigel North.
Howard Posner
Roman Turovsky at [EMAIL PROTECTED] wrote:
However what I meant wasn't his
personality, but how much he euphoniously deviated from the rest of the
band.
I wasn't referring to his personality either.
Alain's response prompts me to clarify my question. I'm not looking for
music that can be played on a tiorbino (I suppose any Italian or French
theorbo piece could be played on a tiorbino). I'm asking whether any
composer other than Castaldi specifically designated music for tiorbino. I
think
Roman Turovsky at [EMAIL PROTECTED] wrote:
IMO: Baroque Lute is ill-suited to any group endeavor, excepted accompanying
a single voice singing maximum at mezza voce.
You're playing continuo whether you're accompanying 1 voice or 100.
Existence of fine chamber music with Baroque Lute does not
Eloy Cruz at [EMAIL PROTECTED] wrote:
You can check Nina Threadwell's dissertation The chitarra spagnola and
Italian monody,
You'll have better luck finding it if you look under Treadwell
or of the people
or not genteel, as in vulgar tradesman or even Vulgar Latin.
We even have vulgar fraction (or common fraction) as distinguished from
decimal fraction.
Purcell did indeed compose more than his share of raunchy or salacious
songs, though I can't think of any that were ballads.
Howard Posner
Orpheus Britannicus, which was
published posthumously, differs in spots from the one in the birthday ode,
which was busier and more interesting. But they are both obviously Cold
and Raw.
Howard Posner
Alain Veylit at [EMAIL PROTECTED] wrote:
But what on earth is signalling a page-turn in
Hebrew-fashion?
It could simply mean turning back to the previous page (for the da capo), as
if reading from right to left as in Hebrew.
Less likely, I think, it could refer to an ethnic stereotype about
of California at Los Angeles, says Juris
Doctor. This is typical. JD is always understood to mean law school
graduate. I've never seen Bachelor of Law, but I can't say that no law
school awards such a degree.
Howard Posner
as
treason.
Howard Posner
Roman Turovsky at [EMAIL PROTECTED] wrote:
Most of us are raised with the idea that everyone is
equal. In Dowland's time, such an assertion might have been construed as
treason.
Didn't Quakers professed such a treasonous belief?
Something like it, and they drew a lot of heat for it. The
Wayne Cripps at [EMAIL PROTECTED] wrote:
You can (and I have) used unflavored gelatin as hide glue.
It doesn't smell so bad as some hide glues sold as such...
Can you recommend a particular product? It sounds perfect for repairing a
ukelele that my kids will doubtless smash up again soon.
Stewart McCoy at [EMAIL PROTECTED] wrote:
As often as not, transposing the voice part to match a lute in G
brings the singer's notes into a sensible range. For example, airs
de cour which imply a lute in A tend to have quite a high range. By
transposing down a tone for the sake of a lute in
Roman Turovsky writes:
I didn't say that Artusi's criticism was directed at CM's instructions.
Yes you did. You said:
Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
musicians to tune in ET, for which he suffered criticism from a gentleman
named Artusi.
Roman
Caroline Usher at [EMAIL PROTECTED] wrote:
You are citing the worst period from the entire history of the Church
I'd have thought it one of the better periods. By worst, I suppose you
mean most apparently venal, but venality, and indeed, corruption, would
be far down on my list of factors in
Roman Turovsky at [EMAIL PROTECTED] wrote:
Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
musicians to tune in ET, for which he suffered criticism from a gentleman
named Artusi. Who remembers Artusi now?
Alas, I can't seem to find my list of the persons who
Vance Wood at [EMAIL PROTECTED] wrote:
It seems that my casual remarks to a casual question about the authority of
the church has provoked the passion of one or more members of the list.
It may seem that way to you. It seems to me that someone disagreed with
you.
HP
Roman wrote:
Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
musicians to tune in ET, for which he suffered criticism from a gentleman
named Artusi.
I wrote:
I ... can't find any reference to equal temperament from either Monteverdi
or Artusi. Perhaps you
Leonard Williams at [EMAIL PROTECTED] wrote:
George Kelischek workshop produces and distributes a variety of early
and folk instruments from Brasstown in N or S Carolina (US)--can't recall
which state. They've had a good
reputation, but there is a tendency to introduce modern improvements to
Stewart McCoy at [EMAIL PROTECTED] wrote:
The music is typically French, with a thin texture suitable
for a theorbo, but ornaments and left-hand stretches made it too
much of a struggle, for me at least. I didn't pursue the repertoire,
thinking that the fault was my instrument rather than me.
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
it is a chimera.
Other than wishful thinking, there is no evidence for use of a theorbo
second course strung in octaves; indeed, since the stress of a higher
octave second would exceed the maximum breaking stress, it is highly
unlikely.
The
Thomas Schall at [EMAIL PROTECTED] wrote:
The difficulty could mean many things: technical difficulty or musical
difficulty. Usually the works by Bach were regarded as musically
difficult - difficult to understand, difficult to listen to them etc.
old-fashioned.
Were regarded by whom, other
David Rastall at [EMAIL PROTECTED] wrote:
Picinnini also uses the 14th course at times, but it looks to me as if
he is sometimes indicating something other than F. Did they use
re-entrant tuning on those bass courses?
In a way. Piccinini's 14th course was tuned to the F# below the
The previous posts answering David's question have not made clear that the
original of da un codice is not available and hasn't been for many years.
Dick Hoban's version is a re-intabulation from Chilesotti's book.
HP
[EMAIL PROTECTED] wrote:
a well-meaning friend bought me a couple of CDs for
Christmas, played on original instruments, the Handel Fireworks music, and
the Mozart horn concertos. The horns in particular sound dreadful, awfully out
of tune, so much so that I got a headache after a while.
My
Thomas Schall at [EMAIL PROTECTED] wrote:
Strawinski's comment propably meant any time Cage spends with nothing is
better than if he would produce tones ...
Probably?
Edward Martin at [EMAIL PROTECTED] wrote:
Paul O'Dette performs it on
the small instrument.
He recorded it that way years ago, but I don't know that he'd do it that way
now. In the 80's years ago it was pretty much accepted wisdom that Vivaldi
was writing for a soprano lute (I think because
Vance Wood at [EMAIL PROTECTED] wrote:
JEWISH IS A RACE, Judaism is a religion. I am dumb struck that you do not
understand that.
During the Holocaust The Jews were persecuted because of their race not
their religion.
That's pretty much how Goebbels put it. More objective observers
James A Stimson at [EMAIL PROTECTED] wrote:
There seems to be a very simple explanation for the bent-back pegbox: The
joint is more stable.
But isn't it the bent-back design that makes a joint necessary in the first
place? I.e., if the pegbox were straight, couldn't it be made from the same
Matanya Ophee at [EMAIL PROTECTED] wrote:
We have no way of knowing what would have happened if 18th century
lutenists had paid heed to Perinne and Campion. But we do know that today,
this same failed system of the 18th century
The press of deadlines compels me to retire from this discussion.
Arne Keller at [EMAIL PROTECTED] wrote:
I am uncertain as to the significance of this year.
It was the year of the Campion remark that Matanya cited.
While we're in the vicinity of the subject:
Any recommendations of sources of lute duos transcribed for two keyboards
(other than Robinson and Dowland)?
Howard
Matanya Ophee at [EMAIL PROTECTED] wrote:
So, with the addition of the Milleran quote furnished by Fred, we now have
three commentaries by French musicians about the dangers of tablature to
the general musicianship of the player.
It could be said, and I would not be able to argue against
Matanya Ophee at [EMAIL PROTECTED] wrote:
The real value of this painting is of course the music, if anyone can
identify it. Now let's assume, for the sake of argument, that this is the
only drawing in existence showing a lute player playing. It would be a
smashing proof that lute player
Roman Turovsky at [EMAIL PROTECTED] wrote:
I think - as many do - that it is a good idea to start lute playing
by a lute in renaissance tuning.
I disagree emphatically. Weiss and Hagen didn't, and look where it took
them.
Well, they're both dead. I can't say for sure they'd still be around
Matanya Ophee at [EMAIL PROTECTED] wrote:
the fact remains that within 19 years after the appearance of
the Perrine book, Campion stated that the lute was done for. That is a
fairly powerful statement
The translated excerpt in your article says the lute has declined (or is in
decline, or is
Matanya Ophee at [EMAIL PROTECTED] wrote:
Howard Posner posted here a couple of
days ago some account of what goes on in that NG, on a particular day. Much
of what he said does in fact occurs there, but not on 12/6/03. Be that as
it may, I do not recall any instance of outright antisemitism
Roman Turovsky at [EMAIL PROTECTED] wrote:
The funny thing is that old postings in those flame wars are nowhere as
interesting as they seemed at the time..
I'm afraid they weren't as interesting as all that at the time, Roman.
What's interesting (or, for that matter, persuasive) to the
thirds were Bream converts) and found that
learning French tab was vastly easier than learning to drive a car or use a
computer. Certainly it's easier than learning an instrument or earning the
money to buy it and string it.
Howard Posner
Vance Wood at [EMAIL PROTECTED] wrote:
Trouble is-a lot of them drop out or go underground because the group
that should be supporting them and encouraging them is by far and away as
friendly as a pack of junk yard dogs. As a whole I have never been exposed
to a group, boasting interest
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
as I know from many Jewish friends, whose names were
given them (on payment of the appropriate amount of money) after the
emancipation from the ghettos.
Hmm. Just how old are you?
in a published federal trial court decision, but
not by a federal court of appeal. I'm told the law is different in some
European countries, and putting something on the Web might constitute
publication in those countries. Questions of jurisdiction over the Web are
far from settled.
Howard Posner
Christopher Schaub at [EMAIL PROTECTED] wrote:
I always find it curious when people say that Dowland switched to thumb-out as
if he'd abandoned thumb-under. Imagine (close your eyes, it helps) the best
lute player in the world today, he has been playing thumb-under for most of
his career. If
Herbert Ward at [EMAIL PROTECTED] wrote:
According to my teacher, the lute thumb-out technique developed in the
Baroque (post-Renaissance), as lutes acquired more courses (ie became
wider), and had more complex bass lines. So you may very well see old
paintings showing both types of
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
Is it in fact possible to use guitar
strings on a lute, at least as far as the higher strings are concerned (the
upper G-string, the two D-strings)?
These are the ones that definitely wouldn't work, unless your lute is made
out of concrete. A
against the party it
contracts with.
A publishing company can declare pretty much whatever it wants, just as I
can declare that I'm Napoleon. It costs nothing to put a notice on a
published edition claiming that you own the solar system, and someone just
might believe you.
Howard Posner
Christopher Schaub at [EMAIL PROTECTED] wrote:
You'll notice in many facisimile editions there is no
copyright notice for this very reason!
In most jurisdictions, including the United States, there is no requirement
of a copyright notice to secure copyright protection. This has been the
case
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
I assumed that I'd have to do experiment with some
re-stringing to play these pieces on a (A-pitched)
Italian theorbo. I was also wondering if anyone knows
whether this is technically practical on a
continuo-sized instrument.
I suppose if your
James Edwards wrote:
a tusk of what? Mammoth, elephant, walrus,
rhinocerous, or other; and where did he get it from? I'm sure he acquired it
legally somehow, but don't you want to know? It's odd to me that we can be so
concerned about the details of historical correctness regarding the
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
What is mammoth ivory?
Ivory from mammoths. Seriously. The stuff lasts a long time.
Howard
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
Does anyone know if the theorbo music of John
Wilson is available anywhere? I'm particularly
interested in the series of pieces in each key. Also,
can this music be played on a big Italian theorbo
(chittarone)? Thanks in advance,
All the solo
Stewart McCoy at [EMAIL PROTECTED] wrote:
Wilson seems to avoid using the first course, which
seems to suggest there was some kind of problem with it, e.g. it
might have been tuned down an octave.
Of course (no pun intended, but what the hell), Wilson does not avoid the
first course in the
.
Howard Posner
Michael Stitt at [EMAIL PROTECTED] wrote:
Of interest to me is what a lute worth $1,512, or 21 rtl in 18th century
German currency is relative todays prices for a lute.
It's nonsense to say that 21 reichsthaler was equivalent to $1,512 in modern
(U.S., I presume) currency. I'm not saying that
Monica Hall at [EMAIL PROTECTED] wrote:
A
Turkic tribe moved westward from Anatolia through Eastern Europe to Finland.
Finland must have moved considerably to the north and east since then.
Tim Crawford wrote:
TOTAL NONSENSE, Matanya.
Reminds me of the comedian David Steinberg some decades ago, hailing the
inclusion of bullshit in a new Webster's dictionary. He said the
dictionary defined it as nonsense, prompting him to comment:
Webster's did it: found the one guy who doesn't
[EMAIL PROTECTED] at [EMAIL PROTECTED] wrote:
I, too, have a problem with cyclically recurring hardened skin on my
fingertips, and I thought oil of tartar might do the trick. I spoke to a
local pharmacist about it, and he referred to a 19th c. pharmacopeia to see
how to make it. When he saw
Arthur Ness (boston) at [EMAIL PROTECTED] wrote:
There's an
idiot savant in one of Steinbeck's short stories, Oh yes. Of Mice and Men.
Wasn't he called Bear?
You're confusing Steinbeck's tales told about two idiots, if I can
paraphrase Shakespeare. Lenny in Of Mice and Men has enormous
Arthur Ness writes:
I once looked
into the price of high quality paper in 16th century Augsburg, paper of the
kind one would use to copy lute music. A ream of folio sized paper (about
9x12) in Augsburg cost the equivalent of a kitchen servant's monthly
salary. Today a ream of highest
Denys Stephens at [EMAIL PROTECTED] wrote:
Costo en Roma 110 quatrines por Setiembre de 1512.
I am neither a linguist nor a numismatist, but I guess this refers to
the cost of the book? Can anyone throw any light on what this means,
and if it is the cost, how it relates to the present day?
Ed Durbrow at [EMAIL PROTECTED] wrote:
Are you folks kidding?
Probably a bad day to address that question to a Californian.
Obviously that's a Bb chord
and sounds entirely Scottish.
But does it sound like an early seventeenth-century Scot's view of what
gypsies sounded like?
Paul O'Dette
Rainer aus dem Spring at [EMAIL PROTECTED] wrote:
Of course, there is Galilei's 18/17 rule.
My recollection is that this is the only historical instruction for equal
temperament. Can anyone think of another?
Tim Mills at [EMAIL PROTECTED] wrote:
I do have one instrument that that
harmonics are very loud.
Wound extension strings, by any chance?
Are there instructions on how (or more importantly, where) to set frets
other than the Dowland/Gerle instructions?
HP
Jon Murphy at [EMAIL PROTECTED] wrote:
My guess is that
the actor (remember, no women on stage at the time, who played Ophelia found
a simple melody to fit the song, and if it was accompanied it would have
been with simple chords (as the Greek poets were accompanied by a bit of a
strum) so
Stewart McCoy at [EMAIL PROTECTED] wrote:
Thanks very much, Tony. It has come out very clearly.
Really? All I got was a notice that:
La page est inconnue du serveur des Pages Perso Wanadoo.
Veuillez vérifier l'URL demandée.
Sir David Vavreck at [EMAIL PROTECTED] wrote:
The conventional wisdom regarding theatrical stage is
that if one cannot do a good job at an accent, one
should not do it at all (this explains why in a recent
Robin Hood movie, for example, the main character
sounded like a Yank - that and Kevin
for
replacement. I don't know if that information is still applicable, since it
dates from the mid-1990's.
Howard Posner
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