On Dec 17, 2013, at 7:45 PM, theoj89...@aol.com wrote:
Does anyone have a source of a lute in tabulation of Mille Regretz by Josquin
des Pres? Seems like I remember one, but cannot locate it. Cheers,
Narvaez' Cancion del Emperador is a setting of Mille Regretz.
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On Dec 16, 2013, at 7:51 AM, William Samson willsam...@yahoo.co.uk wrote:
A recent programme blurb for a Nigel North concert says that he was
first inspired by Hank B. Marvin of The Shadows (Cliff Richard's
backing group).
Not just at first. About 20 years ago, when I gave Nigel a ride
I meant, of course, that Segovia played bigger venues...
On Dec 16, 2013, at 3:29 PM, howard posner howardpos...@ca.rr.com wrote:
Llobet was a Tarrega student and played with nails, according to Segovia, who
didn't care for his tone. And according to Segovia, he played bigger venues
On Dec 15, 2013, at 9:26 AM, Tobiah t...@tobiah.org wrote:
I find his tone anemic, his rhythm unmusically erratic,
I certainly agree about his rhythm (and unless you've heard his recordings from
around 1930 you don't know the half of it), but he pulled a lot of sound out of
the guitar. In
On Dec 15, 2013, at 1:47 AM, William Samson willsam...@yahoo.co.uk wrote:
Segovia's early years seem to be unclear. Does anybody know where he
learned to play? Did he study with a master?
I just happen to own a copy of Segovia: an Autobiography of the Years
1893-1920, translated by
On Dec 15, 2013, at 1:01 PM, Chris Barker csbarker...@att.net wrote:
Tarrega taught Pujol to play with nailess right hand
fingertips, and Pujol passed that technique on to others. I presume that
Segovia's use of nails, and increased volume of his instrument because of
that, might have gotten
On Dec 14, 2013, at 3:44 AM, gary magg...@sonic.net wrote:
Recently, a message was posted referring to Andres Segovia as a bully. I
think that's a little harsh, I know it's become popular to bash Segovia and
that he had a huge ego, but I don't recall him actually bullying anyone into
On Dec 14, 2013, at 8:46 PM, Franz Mechsner franz.mechs...@gmx.de wrote:
I think Segovia had dedicated so much genius and effort into his views
on music, interpretations, fingerings etc. that he was unable to
imagine that a student could have done better
Never mind students; he thought
On Dec 11, 2013, at 9:06 AM, Sean Smith lutesm...@mac.com wrote:
Interesting video and it's a shame about the sound quality. He sounds like a
good player. I wonder if he would have benefitted from a carpet under his
chair or a screen just behind him. So much sound seems lost to the volume
On Dec 6, 2013, at 8:20 AM, erne...@aquila.mus.br wrote:
his recordings do not fit into what I like to hear,
say Hopkinson Smith and alumni.
If you can direct me to Hopkinson Smith and Alumni play Britten and
Villa-Lobos, I'd love to hear it.
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On Dec 6, 2013, at 10:06 AM, Geoff Gaherty ge...@gaherty.ca wrote:
I feel the same way about Wanda Landowska and the harpsichord. Even if the
Pleyel harpsichords she used were well on their way to evolving into the piano
The harpsichord had evolved into the piano a century or two earlier.
On Dec 6, 2013, at 12:52 PM, William Brohinsky tiorbin...@gmail.com wrote:
I have to admit to not understanding the idea that the purpose of the list or
of lutenists should be to try to force people's direction one way or the
other.
I don't think anyone has actually expressed that idea.
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that idea.
On Fri, Dec 6, 2013 at 4:09 PM, howard posner howardpos...@ca.rr.com wrote:
On Dec 6, 2013, at 12:52 PM, William Brohinsky tiorbin...@gmail.com wrote:
I have to admit to not understanding the idea that the purpose of the list
or of lutenists should be to try to force people's
On Oct 29, 2013, at 2:20 PM, Leonard Williams arc...@verizon.net wrote:
I know this has come up on several occasions‹Capo with anything but
equal
temperament doesn¹t work. I¹ve noticed, however, a pattern to meantone
fret placements, the space between frets being (starting at the
Arthur Ness wrote:
Vivaldi also composed three concertos for violino in tromba marina (RV
211, 311 and 313). This fiddle-like instrument, which was popular at
the Piet`a, has three strings tied to a floating bridge, which produces
a raspy sound according to Michael Talbot.
The
Hi Arthur:
Might you you be confusing the concerto in G, RV 532 with the Noah's Ark (for
lots of pairs of instruments) concerto in C, R 558?
On Oct 13, 2013, at 10:15 AM, Arthur Ness arthurjn...@verizon.net wrote:
But notice the original instrumentation includes 2 Salmo (=chalumeaux),
2
On Sep 28, 2013, at 5:48 PM, co...@medievalist.org wrote:
I know that today we know there's too much silica in ebony to use as tuning
pegs
This will come as a surprise to most of the violinists in the world.
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On Sep 29, 2013, at 11:28 AM, Chris Barker csbarker...@att.net wrote:
This is true about silica... And the fact that ebony dries at different
rates with and across the grain. I have recently noticed that a number of
fine violins have light colored pegs, possibly boxwood.
You'll find an
Mostly, it's just a question of practicality. There are only so many
instruments you can afford to own and keep strung, only so many you can bring
to a concert and keep in tune and find a place to stash around the stage when
you're not playing them, only so many you can fly with, and only so
Two things to keep in mind:
1. I don't really think there's a future-instrument creep going on. Many of
us have been lutophiles long enough to remember when we didn't know enough to
raise most of the questions you bring up. Players are certainly more conscious
of the variety of historical
Wonderful stuff, but it will sound like mostly gibberish if you're not familiar
enough with the original Flying Dutchperson overture to expect the real thing.
On Aug 22, 2013, at 8:57 PM, Ed Durbrow edurb...@gmail.com wrote:
This gets funnier as it goes on, but they play to well in tune.
On Aug 20, 2013, at 12:35 PM, Mayes, Joseph ma...@rowan.edu wrote:
I have to agree that the visual choreography takes away from the enjoyment.
Weather it's the fellow playing F C d M (incidentally with some wrong notes
and rhythms) who looks like his dog just died, or Tatiana, who looks for
On Aug 17, 2013, at 4:08 PM, David Tayler vidan...@sbcglobal.net wrote:
Yes, there was a concerto for Iadone.
This seems like a more definitive statement than the one you posted six years
ago. Have you acquired new information since? Or am I reading too much into
it
On August 13, 2007,
On Aug 13, 2013, at 3:47 PM, Edward Martin e...@gamutstrings.com wrote:
Not only that, but I found a photograph of Iodone with Hindemith
http://music.yale.edu/news/?p=8933
The picture of Hindemith showing his Yale graduate students how to hold a
pencil is certainly interesting, but anyone
On Aug 12, 2013, at 10:50 AM, Braig, Eugene brai...@osu.edu wrote:
By the way, can you use any reentrant tuning schemes on tromba marina, or
does that depend upon its scale length?
It depends on how willing you are to tolerate a toy tromba marina.
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On Aug 7, 2013, at 7:28 PM, t...@heartistrymusic.com wrote:
Brahms used to play in seedy waterfront bars.
And perhaps a brothel or two. Probably a myth, albeit one spread by Brahms
himself. More thorough research since 1985 strongly suggests that it was a
bit of self-mythologizing (i.e.
On Aug 5, 2013, at 4:37 PM, Mark Seifert seifertm...@att.net wrote:
Are you a piano player as well as a lute enthusiast?
No, and my guitarist's repertoire of derogatory comments about the piano is now
used only to annoy my keyboard-playing wife. There's an upright piano and a
Flemish
On Aug 5, 2013, at 4:37 PM, Mark Seifert seifertm...@att.net wrote:
I think it was Greenberg who said in his Bach course that Bach didn't
like Silbermann's pianos, though he loved Silbermann's organs and
harpsichords. Bach was the heaviest hitter I could think of for help
in
On Aug 7, 2013, at 3:16 PM, Leonard Williams arc...@verizon.net wrote:
I believe the criterion for judging good music from bad lies in the quote
(also Ellington??): If it sounds good, it is good.
This is either tautology or useful advice for anyone in the habit of judging
music by its smell.
On Aug 5, 2013, at 5:51 PM, Edward Mast nedma...@aol.com wrote:
Disdain for either early or later music is foolish. Duke Ellington is
reputed to have said: There are only two kinds of music; good music and bad
music.
And since no two persons will ever agree on which is which in every
On Aug 4, 2013, at 5:11 AM, Mark Seifert seifertm...@att.net wrote:
Why the piano chauvinism in modern music? I don't like piano (except
maybe Debussy, Rachmaninoff, Chopin, Hummel, Schumann, Tim Story)
You might want to check out this dude named Beethoven.
Bach firmly rejected the
On Aug 3, 2013, at 3:15 PM, Dan Winheld dwinh...@lmi.net wrote:
The longer this thread continues, the more I feel like I've gone back 45
years in a time machine.
Severe jet lag?
This is EXACTLY the situation I encountered as a young Classical guitar
student at university all those years
Try looking up Castor and Pollux.
On Jul 25, 2013, at 12:12 PM, Sam Chapman manchap...@gmail.com wrote:
Hi all,
I've been asked by a singer to explain the meaning of a couple of lines
from Fine Knacks for Ladies. Frankly I've never understood them either,
have any of you? She writes:
On Jul 22, 2013, at 2:51 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
I note that you now have the reference I sent you about Kuhnau's
request for gallichon being refused by the authorities: would you
kindly pass the information onto the other people you consulted who
also were
On Jul 21, 2013, at 8:52 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
Well, I suppose it all depends on whether we try to identify and employ
the instrument the composer is most likely to have expected to be
heard.
The question is not whether we try to identify the instrument the
On Jul 20, 2013, at 1:11 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
Indeed Kuhnau did press (unsuccessfully!) the church authorities for
one or two instruments to play continuo which he called gallichons
Is anyone aware of some piece of evidence as to what the town council
On Jul 18, 2013, at 1:03 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
There is no evidence that Bach had the gallichon/mandora in mind for
this.
There's rather stronger evidence than usual for gallichon in German church
music and particularly in Leipzig, if not specifically in any
This is fascinating stuff. He talks about his dealings with Benjamin Britten
and Peter Pears, the origin of Nocturnal, his commissioning of other music, and
even a bit about the lute, which got exposure in the U.S. from his appearances
on chat shows of the sort that did not yet exist in the
On Jun 19, 2013, at 4:27 PM, Braig, Eugene brai...@osu.edu wrote:
Total irrelevancy alert: Lake Superior only the largest lake in the world by
surface area, not by volume. It is a part of a large system, the Laurentian
Great Lakes, that do constitute the largest freshwater system in the
On Jun 2, 2013, at 10:48 PM, Sterling spiffys84...@yahoo.com wrote:
You will have to be way more specific.
By which he means that Bach more than one prelude in C major.
Do you mean the one from Book 1 of the Well-tempered Keyboard?
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On May 8, 2013, at 11:33 AM, r.turov...@gmail.com wrote:
The purported Ellis Island name manglings is a myth.
Every immigrant's name had to be and was matched to the ship's manifest, and
any deviation was massively illegal.
As was selling alcoholic beverages in the United States between 1920
On Apr 9, 2013, at 1:16 PM, Bruno Correia bruno.l...@gmail.com wrote:
Absolute strict time was certainly unknown to them (musicians), we take
this idea for granted nowadays because of the mechanical age we live
in. Absolute precision is our game not theirs
*Absolute* precision is no
On Apr 10, 2013, at 1:37 PM, howard posner howardpos...@ca.rr.com wrote:
What they did with that approach was likely as variable as what we do.
By which I meant that one person's approach would differ from another's just as
we have different approaches today.
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On Mar 15, 2013, at 11:30 AM, Bernd Haegemann b...@symbol4.de wrote:
There is a constant learning process during the tying of the first 3 frets
which leads to a triumphant sailoresque mastery of knothood.
I'm living proof that it leads to no such mastery.
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On Feb 25, 2013, at 5:38 AM, James Jackson weirdgeor...@googlemail.com wrote:
don't forget the Saizenay MS was compiled towards the end of
the golden age of French baroque, when it was obvious it was coming to
an end.
Were there odd-looking men on street corners with signs saying,
In the 18th century, of course, the best players didn't have to worry much
about string damping because when master lutenists played, their apprentices
did all the necessary damping.
On Feb 21, 2013, at 10:40 AM, Christopher Wilke chriswi...@yahoo.com wrote:
Dan,
Don't you have to play
On Feb 21, 2013, at 10:49 AM, Sam Chapman manchap...@gmail.com wrote:
There is far more evidence for a legato
way of playing. One of the first rules we learn on the lute is to hold
down the left hand fingers until they are needed for another note -
doesn't this indicate a desire for
On Feb 21, 2013, at 2:51 PM, Sam Chapman manchap...@gmail.com wrote:
Isn't cutting a note short articulating by definition, regardless of what
one does with all the other notes?
No.
Articulation means lots of things, but none of those things is cutting a note
short for no particular
On Feb 17, 2013, at 6:04 PM, Christopher Stetson
christophertstet...@gmail.com wrote:
I think it's all very primate behavior, and fairly deep in our
evolutionary psyches, if one can speak of such.
That would depend on where one is. I wouldn't bring up evolution at a
Republican
On Feb 14, 2013, at 12:33 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
I listened to it twice with the music in front
of me and I know the piece quite well.
As far as the stringing was concerned it was impossible to tell what you had
chosen to do, but a high octave string does create this
On Feb 14, 2013, at 11:44 AM, Christopher Wilke chriswi...@yahoo.com wrote:
There were one or two places where (dare I say it) some of the lower
notes
sounded twangy...
Yes, that is a actually special type of ornament that I have mastered
it to perfection. I call it a mistake. ;-)
I enjoyed the contrast between the strummed parts and the punteado parts. As
it went on, I found myself wanting more dynamic contrast within the strummed
parts.
Your thoughts are most welcome.
The link is:
http://www.youtube.com/watch?v=g3v56-03ajU
Chris
Well I very much
On Feb 2, 2013, at 12:03 PM, Arto Wikla wi...@cs.helsinki.fi wrote:
Just in case someone doesn't have the Elslein tabulatures, here you'll find
the facsimile of my 1980's handwriting in French(!) tabulature by three
Hanses: Judenkunig, Newsidler and also Gerle:
I hadn't seen the Gerle
On Feb 1, 2013, at 12:39 PM, Arto Wikla wi...@cs.helsinki.fi wrote:
What makes me prefer my choice is that many, many years ago I happened to
sang Elslein in a small group, and the not repeating way resembles so
much better to the sound of the that Lied than the other alternative.
and
On Jan 31, 2013, at 5:24 AM, G. D. Rossi ceth...@gmail.com wrote:
I've published articles on this topic - it was indeed called English
at the time, and several other things as well.
I play the JCB in concert regularly and have recorded it, too - it's a
delight to play - both parts
On Jan 31, 2013, at 7:17 AM, G. D. Rossi ceth...@gmail.com wrote:
thanks, howard.
Don't mention it.
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On Jan 30, 2013, at 1:05 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
I'm sorry you feel so defensive - but what is there to complain about
in what I wrote to you?
I'm just guessing here, but could it possibly be that you were the only one on
the list who didn't understand it was
On 29/01/2013 14:39, Monica Hall wrote:
How do you know that this instrument is a 4-course guitar. There is no way
of telling as far as I can see that is intended to be plucked rather than
played with a bow.
We know for three reasons:
1. The instrument has a flat fingerboard and a
On Jan 25, 2013, at 9:41 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
Meucci gives a whole series of references which support his contention that
in Italian sources the terms chitarra or chitarrino refer to a small lute
whatever they may refer to in any other language. Amongst the latest
On Jan 3, 2013, at 3:48 PM, Dan Winheld dwinh...@lmi.net wrote:
But always with the ever present danger of death by hardware or incorrect
opinions.
Unlike today...
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On Jan 2, 2013, at 8:49 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
Thank you. 1525 seems more likely for his date of birth but 1605 would
still make him 80 when he died!
It's been known to happen.
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On Dec 20, 2012, at 4:22 PM, WALSH STUART s.wa...@ntlworld.com wrote:
I think this could work as a lute piece... as a sort of prelude.
And if you want a sort of Cage suite, I've found that 2'33 works as well on
the lute as it does on piano/
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On Dec 20, 2012, at 5:45 PM, adS rainer.aus-dem-spr...@gmx.de wrote:
4'33 -
You're absolutely right, but when I do it, it's two minutes shorter because I
skip the first movement--I've never liked it, unlike the other two.
BTW, there's video of the full orchestral version at:
IMSLP has the manuscript in both color (72 MB) and black white (14 MB):
http://imslp.org/wiki/6_Violin_Sonatas_and_Partitas,_BWV_1001-1006_(Bach,_Johann_Sebastian)
On Dec 18, 2012, at 12:14 AM, Dan Winheld dwinh...@lmi.net wrote:
Dear Collective Ocean of lute wisdom- Can anyone direct me to
On Nov 27, 2012, at 10:35 AM, jaroslawlip...@wp.pl wrote:
The word decay reappears several times in the technical part of Music's
Monument, always in conjunction with the word rottenness. This can't be
coincidental.
You may be right about Mace using rottenness in the modern sense of
On Oct 17, 2012, at 4:17 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
There is also the article by John Hill in Early Music, Vol. 11, no. 2, April
1983, p. 194-208 which does mention the possible influence of the guitar on
the lute -
Realized continuo accompaniments from Florence
Sounds like a toy stylophone.
On Oct 12, 2012, at 2:58 PM, WALSH STUART s.wa...@ntlworld.com wrote:
The cittern list seems to be defunct. So:
[1]http://www.youtube.com/watch?v=vNdO5va4CQI
Stuart
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Before I depart this subject, I should remind everyone what it is. It isn't
about whether you should discredit everything Mace writes, which is not what
I've suggested. The question was how to interpret Mace's statement that red
strings were commonly rotten. Here are three possibilities:
1.
Try again: I meant to say the word case does NOT appear in MM.
On Oct 8, 2012, at 11:16 AM, howard posner howardpos...@ca.rr.com wrote:
What jumps out is that he does not compare the advantages of a bed with those
of keeping the lute in its case. But the word case does appear in Musick's
My very dear Jaroslaw; how good to hear from you.
On Oct 8, 2012, at 12:41 PM, JarosÅaw Lipski jaroslawlip...@wp.pl wrote:
Then, lets examine your own words without any additions.
But with lots of subtractions; i.e. if you're going to parse, you should parse
completely, starting with the
On Oct 7, 2012, at 4:23 AM, Jaros³aw Lipski jaroslawlip...@wp.pl wrote:
There is also quite a lot of speculation in your answer,
So I said at the beginning.
however I doubt very much if Mace could be so poetic and enigmatic in the
book which was to simplify things. He was defending lute's
On Oct 7, 2012, at 12:14 PM, Jaros³aw Lipski jaroslawlip...@wp.pl wrote:
So you see Mace as an oddball, inaccurate observer, someone quick to jump
to odd conclusions, old deaf man who had lost touch with reality, an idiot
who constructed an instrument impossible to play etc
What I said
On Oct 7, 2012, at 3:52 PM, JarosÅaw Lipski jaroslawlip...@wp.pl wrote:
No offence I hope? I really wouldn't like to take part in an exchange of
arguments that go far from the subjects most of the lute-listers are
interested in.
The listers should be interested in the problems of
On Oct 6, 2012, at 12:45 PM, Jaros³aw Lipski jaroslawlip...@wp.pl wrote:
Maybe, but then how will you explain a quote from Mace p.66:
I have sometimes seen strings of a yellowish color very good; yet but
seldom; for that color is a general sign of rottenness, or of the decay of
the string.
I bought my first lute from Kelischek 30 years ago. It was a decent, playable
entry-level instrument. I can't speak for what they're selling now, but it's
hard to imagine they're peddling junk.
On Oct 2, 2012, at 5:35 AM, Ron Fletcher ron.fletc...@ntlworld.com wrote:
I have just come
On Oct 1, 2012, at 9:06 AM, Toby t...@tobiah.org wrote:
Often, mundane thoughts,
Tend to appear meaningful
When read in Haiku
Mundane though they be,
Thoughts, when expressed in haiku
Are concise, at least
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On Oct 1, 2012, at 9:23 AM, Toby t...@tobiah.org wrote:
Then it would be best
That all communication
Be done in Haiku
Better for reader
But for the one who's writing
It would take too long
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On Oct 1, 2012, at 9:35 AM, Toby t...@tobiah.org wrote:
A side benefit
Would be that unworthy thoughts
Would remain suppressed
Some listers will find
This whole exchange unworthy
So I will stop now
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Keep in mind that nothing lasts forever.
But you may be able to rotate your fret, as it were: push the fret toward the
nut enough to loosen it, push the knot about course's width away from the
fingerboard, then slide the fret into position again, and (as we string players
say) viola! the
On Sep 9, 2012, at 2:52 PM, A.J. Padilla MD wrote:
There's a saying somewhere that if there's a bagpipe in the same room with a
lute, you can't hear the lute being played, even if the bagpipe is not.
Same thing probably applies to the krumhorn!
Not quite. The world hardly has need of
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of howard posner
Sent: Sunday, September 09, 2012 8:27 PM
To: LuteNet list
Subject: [LUTE] Re: Consort Suggestions Please
On Sep 9, 2012, at 2:52 PM, A.J. Padilla MD wrote:
There's a saying somewhere that if there's a bagpipe
On Sep 2, 2012, at 9:41 PM, Ed Durbrow wrote:
I have no answers for you, but I always wondered what the meaning of that
edged tools line was. Is it just a general kind of saying that was popular
then, don't play with sharp things as you can cut yourself, or is there
another meaning or pun
On Sep 3, 2012, at 7:58 PM, t...@heartistrymusic.com wrote:
I mentioned this to a friend who is not a musician, but a brilliant scientist.
His immediate reaction was that the sharp angle of the string going over
the nut to a right angle pegbox would have the same effect as a pulley in
On Sep 2, 2012, at 9:44 AM, Edward Mast wrote:
But I am indeed surprised if the theorbo has its peg box and neck extension
glued to the main neck where they join and yet supports the tension .
Some theorbos, at least, are built this way, and the string tension actually
helps hold the
On Aug 17, 2012, at 5:30 AM, Louis Aull wrote:
If you fear a peg slipping, something is not right with your
peg/pegbox. Keep the lute in the case
This prevents not only slipping, but a lot of tedious playing and practicing,
so it's a time-saver all around.
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On Aug 16, 2012, at 10:23 PM, Edward Martin wrote:
The hall filled with people, and
the heat and humidity went up. The gut strings were so stable with
pegheds, that we had NO TUNING for the entire concert, with exception
of tuning diapasons to a different key!! That in itself is
On Aug 13, 2012, at 3:48 AM, Taco Walstra wrote:
Interesting is if you look at the trauerode score (198) aria is that it
indicates liuti at the start of score, i.e. plural. Would this mean that
the piece was played /intended to be played by more than one lute?
There are two obbligato
On Aug 8, 2012, at 7:16 AM, David van Ooijen wrote:
Did I write Bruwell? No wonder I couldn't find any references in the
library catalogue ... ;-)
That's what happens when you use a looking glass.
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On Aug 1, 2012, at 10:01 AM, co...@medievalist.org wrote:
I took a look on eBay just on spec to see what was out there based on your
email on this subject. I know nothing of the quality but at first blush, the
Roosebeck 7 course seen here
On Jul 31, 2012, at 5:33 AM, David van Ooijen wrote:
I found my looking glass, sorely needed for the 'compact' edition of
the OED
If you're really using a looking glass, you're really doing it the hard way.
Looking glass is a synonym for mirror, not magnifying glass.
(nothing compact
Is there a standard name for this sort of early 20th-century
lute-guitar-attiorbato whatever?
http://www.gazettenet.com/2010/07/24/betty-viereck-formerly-south-hadley
And did anybody here know Betty Viereck?
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On Jul 13, 2012, at 5:18 AM, Ed Durbrow wrote:
the Broadway musical Lute Song, which starred Yul Brynner
and Mary Martin.
Also the only Broadway appearance of Nancy Davis, later Mrs. Ronald Reagan.
I'm curious as to what it was about and if there are any lutes in it.
Lutes wouldn't work
The magic words are public domain.
On Jul 5, 2012, at 6:10 AM, David van Ooijen wrote:
have answered YouTube with this:
I made my own arrangement from the original source, which is a
manuscript from ca 1580 (Trinity College, Dublin, MS D.1 21 9 'Ballet
Lute Book', page 104). I can provide a
On Jul 1, 2012, at 1:25 PM, Ron Andrico wrote:
Thanks, Arto. I'm glad to know there are other happy existentialists
out there, riffing on the absurdity of it all.
Well, one person's absurdity is another's physical science. When I do stroll
gigs, I've found that if I stroll too fast the
On Jul 1, 2012, at 1:55 PM, Ron Andrico wrote:
Is the Doppler effect what happens when you pitch a theorbo end over
end?
Pitching a theorbo end over end is an ahistorical practice because it's
possible only with a toy theorbo. Maybe Randy Johnson could pitch a theorbo
that way...
Is
On Jun 26, 2012, at 9:26 AM, Marvin Reiss wrote:
there is no viable market place for physical CDs.
Our CD inventory which was in excess of 1 million units 18 months ago is
now non-existent.
So what happened to them all?
--
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On May 16, 2012, at 8:23 AM, R. Mattes wrote:
This is partly right and partly wrong - but first let's be
clear about what we talk here: the rights on the composition
(which most likely ended centuries ago :-) or the right of
the _image_ of the original work. Those remain with the owner
of
David Rubio 1976, after Tielke
On Apr 30, 2012, at 3:41 PM, sterling price wrote:
Hi--Today I recieved a 2LP recording by Toyohiko Satoh called 'French
Baroque Lute Music' from 1978. Unfortunatly the liner notes are missing
from the set. If someone has the recording, could you check and
On Apr 30, 2012, at 6:31 AM, David van Ooijen wrote:
There is a general consensus among musicians that Bach never
really understood their instrument, because however good his music for
other instruments, it's always unplayable on their own instrument.
From Letter from an able Musikant
On Apr 30, 2012, at 7:32 AM, Roman Turovsky wrote:
His low opinion of hammerklaviers he saw in Berlin is documented.
Inaccurate, I think.
Johann Friedrich Agricola related in a 1768 treatise on keyboard
instruments that Bach once tried a Silbermann pianoforte (didn't say when or
where), and
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