If someone actually has some of this stuff in digital form, maybe s/
he could post to the list.
On Jan 13, 2010, at 3:49 PM, chriswi...@yahoo.com wrote:
I'm in urgent need of some translations. Would anyone have and be
able to send me translations for any of the following (in whole or
part)?
On Jan 13, 2010, at 5:36 PM, howard posner wrote:
If someone actually has some of this stuff in digital form, maybe s/
he could post to the list.
Except perhaps for the modern essays, which are protected by copyright.
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On Dec 30, 2009, at 11:32 PM, Edward Martin wrote:
, but if the 2 lutes were strung
similarly, one could get more of a sense of comparison.
So your work's cut out for you.
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On Dec 23, 2009, at 7:51 AM, terli...@aol.com wrote:
I am sure a singer of Josquin des Prez
felt the same about hearing the lute torture such perfect vocal music.
Unless, as is not unlikely, the singer and the lute player were the
same person.
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On Dec 21, 2009, at 8:28 AM, Eugene C. Braig IV wrote:
That often played out in publication, but I don't know how big a
role it
played in novelty pieces in manuscript, especially given Bach's
ties to any
actual lute (rather than lautenwerk or via transcription by
contemporary
lutenists)
On Dec 21, 2009, at 7:00 AM, chriswi...@yahoo.com
chriswi...@yahoo.com wrote:
(Note that one puny bongo drum, played lightly by an inexpert
player, can easily cover up the sound of 50+ classical guitars.)
As the tympani, bass drum, cymbals, tam-tam, or gong (and, I'm sure,
other percussion
On Dec 21, 2009, at 9:17 AM, Eugene C. Braig IV wrote:
Obviously not, and I should have been more clear. I was referring
to what
has survived of Bach's music bearing a lute designation or
attribution.
Especially if intended for actual rather than idealized
hypothetical lutes
(or
On Dec 21, 2009, at 6:48 AM, Monica Hall wrote:
But surely the prohibition applied only to playing musical
instruments in worship on the Sabbath not other days of the week.
As a practical matter, it did, probably because of the lost-Temple
business.
I seem to remember when doing some study
I've heard the guitar part in Mahler's Seventh Symphony done with a
steel-string instrument.
On Dec 20, 2009, at 7:54 AM, chriswi...@yahoo.com
chriswi...@yahoo.com wrote:
Already with Webern we may ask ourselves what exactly the
appropriate instrument really is. The Stauffer-style type of
On Dec 20, 2009, at 3:00 AM, Stuart Walsh wrote:
How about the proposition that there was no church in Italy in the
first half of the17th century in which the singers all performed in
the nude? Well.. who knows? But how likely is it?
Neither likely nor apt as an analogy, since it doesn't
Sorry, left out a sentence, rendering the message rather obscure.
On Dec 20, 2009, at 11:32 AM, howard posner wrote:
Christian practice derives in large part from post-Temple Jewish
practice, in which, traditionally, instruments are forbidden in
services. Alexander points out
On Dec 19, 2009, at 3:44 AM, Monica Hall wrote:
we should be cautiousl about claiming that what we do is historically
accurate.
And equally cautious about calling it historically inaccurate, or
wholly inappropriate, nonsense or corny.
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On Dec 18, 2009, at 3:43 AM, Monica Hall wrote:
to which I would respond - is there any authority for David's
proposition other than his own whim?
I'm not sure what David's proposition is, but yours seems to be
something like, there was no church in Italy in the first half of
the 17th century
On Dec 17, 2009, at 6:32 AM, Monica Hall wrote:
May I ask what evidence there is that Monteverdi intended a baroque
guitar to be included in the continuo group in the Vespers?!!
That would be the least interesting of the performance practice
questions you could ask. You might also ask about
On Dec 17, 2009, at 2:54 PM, Suzanne and Wayne wrote:
But a
theorbo among a string orchestra of even 3/3/2/1 on a part will
simply
not be heard in my listening experience.
You mean you don't hear much of it as a discrete, identifiable
sound. What you don't know is how different the
I think David's question was whether there was some authority for
this proposition other than yourself.
On Dec 17, 2009, at 1:05 PM, Monica Hall wrote:
I can't believe this - it is all nonsense. There is a difference
between sacred songs which may be dance like and intended to be
performed
On Dec 15, 2009, at 1:45 AM, Ron Fletcher wrote:
It is better to know the truth than to ruin this man's reputation
as a good
luthier by speculation and hearsay.
The truth, according to several list members who say they have
personal knowledge, is that Faria is long overdue in making
fraud.
Just like you do not have to be a serial murderer to commit murder,
or a thief to steal.
- Original Message - From: howard posner
howardpos...@ca.rr.com
To: lute@cs.dartmouth.edu Lute@cs.dartmouth.edu
Sent: Tuesday, December 15, 2009 10:34 AM
Subject: [LUTE] Re: Luciano Faria
On Dec 15, 2009, at 10:33 AM, vance wood wrote:
Howard: With all due respects I sent your post along with my
response to it; see below. However; that in itself is not
important. The opinions are my own you only made a remark that
spawned my remarks.
Your words: It is better to know
I think you already knew the answer when you asked the question. If
you like the other instrument and can afford to spend the money, buy
it. If Faria ever delivers --don't hold your breath -- you can sell
one archlute or the other; the market for continuo instrument is
likely to stay
overemphasis.
RT
- Original Message - From: howard posner
howardpos...@ca.rr.com
To: BAROQUE-LUTE Lutelist baroque-lute@cs.dartmouth.edu
Sent: Sunday, December 13, 2009 12:02 PM
Subject: [BAROQUE-LUTE] Re: D-minor tuning and ET?
OK, gang: if you're using near equal temperament
On Dec 11, 2009, at 7:46 AM, Guy Smith wrote:
He's currently building me a theorbo, which should be ready soon.
Let me
know if you do end up in this corner of the country. No scotch at the
moment, but I do have a bottle of excellent micro-distillery pear
brandy
I just want to remind
On Dec 8, 2009, at 1:05 AM, Rob MacKillop wrote:
Has anyone got this recording?
I've heard the whole thing, and probably have a faded second-
generation cassette of bits of it somewhere. It's not surprising
that it's not available now; it's pretty choppy and stiff.
Scuttlebutt in the 1980s
Rob was talking about a complete recording of Bach's lute works
(never mind what that actually means). Yepes stomped where angels
feared to tread.
On Dec 8, 2009, at 10:29 AM, Lex van Sante wrote:
Eugen Muller Dombois did. (on a 14 course baroque lute).
Gerwig did (on a ten course lute
On Dec 3, 2009, at 7:34 AM, chriswi...@yahoo.com wrote:
The poem is not quite up to the eloquent heights of desperation
evinced in a line like cigarettes and ice cream, but Darkness
is still a pretty decent tune.
The poem's definitely about depression. Not truly debilitating
clinical
On Dec 2, 2009, at 8:58 PM, Tom Draughon wrote:
it seems
obvious to me that The ground, the ground shall sorrow
be... has multiple connotations - physically ground as in
the foundation of a building, and musically ground as in
variations on a ground. The roof despair... and ...walls
of
On Nov 25, 2009, at 8:39 AM, Daniel Shoskes wrote:
A question for the no gut, no glory crowd. I have noticed that
gut
strings are stickier on my left hand fingers and sometimes when
I lift
off the string the stickiness can cause extraneous sounds. Have
others
noticed this and
On Nov 25, 2009, at 9:00 AM, Daniel Shoskes wrote:
String will stick to my finger and sometimes restrike as I lift off.
You might want to try polished gut if you're not already using it.
Or if you're using polished gut, the polish would be what's getting
sticky, so try unpolished.
You could
On Nov 22, 2009, at 6:43 AM, chriswi...@yahoo.com wrote:
Howard,
--- On Sat, 11/21/09, howard posner howardpos...@ca.rr.com wrote:
Various lutes were played for millenia in the
Mediterranean basin
So Chris Wilkes still has a long way to go.
? I haven't been a part
On Nov 21, 2009, at 6:49 PM, Roman Turovsky wrote:
As to the lack of central authority: the uniformity of ideology
makes that unnecessary.
I'm not sure what you mean by uniformity of ideology, but Islam has
all sorts of conflicting views about everyday life, some of which
(for example: how a
On Nov 1, 2009, at 12:23 PM, David van Ooijen wrote:
Don't mix your strings. Different kinds on one instrument tend to
create inbalance in sound and a lute harder to keep in tune.
Not such a big problem for amateurs.
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On Nov 1, 2009, at 2:01 PM, David Tayler wrote:
I came
across this quote from the book Venetian instrumental music from
Gabrieli to Vivaldi
by Eleanor Selfridge-Field dated 1607
Wow... you must have the first edition. Mine is the third, revised,
1994.
There was a concert of the best
On Nov 1, 2009, at 2:30 PM, Daniel Winheld wrote:
And just how old are your Pyramids? (Pharonic strings, which dynasty?)
I don't know about David, but I have some Pyramid wound strings that
have been on my instruments for nearly that long. After ten or
fifteen years, they stop being too
On Nov 1, 2009, at 4:42 PM, David Tayler wrote:
Didn't know Usper wrote big stuff
Nor I; it was speculation on my part that it was someone connected
with San Salvador who wrote something that requires seven organs. Du
Val's account, like Thomas Coryat's very similar one, is very
tantalizing.
On Oct 28, 2009, at 6:40 PM, chriswi...@yahoo.com
chriswi...@yahoo.com wrote:
It may be a problem for us, but it wasn't for them. French
lute music remained current throughout the German baroque. The
Gaultier/Mouton La Belle Homicide shows up in the Augsburg ms.
right alongside
On Oct 25, 2009, at 9:02 PM, Bruno Correia wrote:
Unfortunately I received a full
score of the opera, which is very hard to acompany in this
format. Is
there a version for bass and the top line? That would save paper
and
make everything much easier (no page turns...).
It might
On Oct 24, 2009, at 5:27 PM, Ed Durbrow wrote:
What I want to know is who had Stravinsky heard play the lute
before
that. ??? Bream said I read that you find the lute very
beautiful and
an expressive instrument.
He'd probably heard Bream.
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Great performance; my compliments to La Stewart.
The lower voice parts seem to lie very well on the lute. Did you
drop it a (nominal) minor third?
On Oct 10, 2009, at 5:03 AM, Ron Andrico wrote:
Philip van Wilder and have arranged
several of his part-songs for voice and lute. Here
On Oct 10, 2009, at 3:31 PM, Guy Smith wrote:
The feather he recommended using - the thin end of an ostrich feather,
stripped down to just the spine - isn't all that different from a
guitar
string, just more fragile. He did have a well-developed
historically-based
rationale for using a
On Oct 7, 2009, at 7:08 AM, nedma...@aol.com wrote:
The Smithson String Quartet (of the Smithsonian Institution) has
recorded Op. 18 on original instruments. Very fine playing and
very
nicely recorded.
There are also recordings of opus 18 by Quatuor Mosaiques. There's
some of it
On Oct 5, 2009, at 5:41 AM, Christopher Stetson wrote:
Have we noticed that almost all of the world finds both lutes and
polyfoam musically boring and irrelevant, and therefore ignores
both?
Almost all the world does not know what a lute is, and therefore
could not be bored by it. I've
On Oct 5, 2009, at 6:07 AM, theoj89...@aol.com wrote:
Are paintings an accurate representation of its use?
Of course not. They represent what an artist thought someone would
pay to have. The artists painted for patrons, not future musicologists.
Was it primarily a woman's instrument (such
On Oct 5, 2009, at 10:59 AM, Stuart Walsh wrote:
I'm not a plectrum player - but dabbling with plectrum play - and
with a floppy feather which is possibly a bit mad.
I wouldn't blame it for being very mad; I know how angry I'd get if
someone kept bashing my head against a string.
--
To get
On Oct 1, 2009, at 1:01 PM, Eugene C. Braig IV wrote:
Merrill managed to pull off aluminum-backed instruments in the late
19th c:
http://www.mugwumps.com/aluminum.htm
Of course, they did have a wooden strip at the edge of shell for
joining
soundboard. I've handled guitars and
Inventories of the Tieffenbrucker's shop on Moise Tieffenbrucker's
death in 1581 included 160 lutes (ordinary and precious),
unfinished lutes, necks, lute bodies and bellies, sawn ribs and lots
of other parts and accessories, including 800 dozen thin lute
strings and 24 dozen violin strings.
The
On Sep 30, 2009, at 10:37 AM, nedma...@aol.com wrote:
But for me - returning to this instrument from the cello - I
consider
lutes cheap. The two local violin makers that build cellos were
asking $12,000 to $15,000 for one of their cellos ten years
ago. The
luthier who made one
On Sep 30, 2009, at 8:06 PM, Christopher Stetson wrote:
By the way, Howard; I'm still formulating my well-thought-out response
to your pseudo-science remark.
Better hurry. It expires after 48 hours.
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However, and I confess I don't remember the details, some
researchers
seem to think that there is an absolute pitch independent of
memory.
The problem with that, as we both realize, is that it presupposes
something like a Platonic Ideal of A at 440 imbedded in our
synapses.
On Sep 29, 2009, at 4:29 PM, luther maynard wrote:
My name is Luther... I have the same questions, why isn't there
a ready
to buy lute for under $1000 for the
beginner that doesn't need work right out of the box,
because building a lute takes a lot of labor by a highly skilled
On Sep 28, 2009, at 9:01 PM, Christopher Stetson wrote:
My question (not answered in the book): In which traditional scale
does someone from, for example, Java have AP (or PP); slendro (5
unequally spaced tones to the octave), pelog (seven equally
spaced
tones), or both? I wish
On Sep 25, 2009, at 10:35 AM, Suzanne and Wayne wrote:
he piece
RunStenand Varin said, by Michael Atherton, was set into tablature
by the composer, because the composer PLAYs the lute.
And did we notice that the second movement is a riff on the best-
known of Besard's entrees?
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On Sep 25, 2009, at 10:47 AM, howard posner wrote:
And did we notice that the second movement is a riff on the best-
known of Besard's entrees?
I meant Ballard, of course.
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On Sep 25, 2009, at 4:54 PM, Roman Turovsky wrote:
Them Egyptians had no tools to build pyramids either.
Etruscans had no tools to build the city wall of Amelia.
However we have those walls, and some early music playable only in ET.
Your analogy is rather less solid than the pyramids. The
On Sep 25, 2009, at 5:20 PM, David Rastall wrote:
would have necessitated transpositions of as much as a minor third.
Where does the color-coding idea fit into that scheme? You don't
get a combination of colors; you get everybody playing out of tune.
Probably not; see below.
And what
On Sep 25, 2009, at 6:14 PM, David Rastall wrote:
Or maybe GP would have preferred Hey Jude sung as though it were
Nessun dorma!
Or Pavarotti singing Queen?
http://www.youtube.com/watch?vÇFGPIRJx6I
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On Sep 15, 2009, at 7:43 AM, nedma...@aol.com wrote:
I think of thumb-over as allowing use of m-i whenever desired.
So, I
think of the person useing thumb over technique as using m-i
more than
the person using thumb under - at least whenever bass notes are
present
along with
On Sep 15, 2009, at 11:43 AM, nedma...@aol.com wrote:
But, I am making a basic assumption (based upon a limited amount of
reading) that a style of thumb-under technique was in general use
before a style of thumb-over technique evolved and became also
generally used. Also, that this later
On Sep 15, 2009, at 2:33 PM, Antonio Corona wrote:
Dear Howard,
What is the source for the theory that in Spain and its areas of
influence thumb-out was the norm?
I suppose, since I already wrote
I've long since forgotten the evidence for the
south-to-north migration theory, BTW.
For newcomers who look at the wikipedia article, Camilla de Rossi's
Il Sacrifizio di Abramo is not a four-movement sinfonia but an
oratorio with a four-movement sinfonia for strings and continuo
(between the first and second parts) that has a prominent lute
obbligato, which occasionally sounds
On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote:
The performer, Falletta, is now pretty famous as a guitarist and
conductor; She now has a concerto competition named in her honor
She's the music director of the Buffalo Philharmonic. How she gets
the buffalos to play decently is a mystery.
On Sep 11, 2009, at 7:26 AM, Edward Martin wrote:
I actually have an aluminum case, which was built for me by a friend
of Donna Curry. it works extremely well for air travel, but that was
years ago.
Building one of those things now might cost more than replacing the
instrument.
--
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On Sep 11, 2009, at 6:26 AM, Roland Hayes wrote:
Funny. An orchestra in Buffalo must must not be able to play
decently?
He who laughs last doesn't get the joke...
You might check out Sean Smith's post about the horn section.
BTW I loved your
intabulation of the polka and fugue from
Check the back issues of the Q; somewhere I recall a story by Suzanne
herself about the days when she and Poulton were both, ostensibly,
students of Arnold Dolmetsch. As she tells it, they both had rather
more on the ball than Dolmetsch did, which I can certainly believe,
and sometimes his
On Sep 10, 2009, at 9:38 AM, Suzanne and Wayne wrote:
Once you've been lurking on this list for awhile, you learn
that it has a male geek bias.
I've never expressed an opinion in favor of male geeks on this list.
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On Sep 10, 2009, at 10:16 AM, Mayes wrote:
Do we care how many of our
lute-playing colleagues are left-handed, Black, gay, moustachioed?
Yes, no, no and yes, respectively, judging from recent posts.
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On Sep 11, 2009, at 11:52 AM, Ron Fletcher wrote:
It has been mentioned that the flute and harp are considered as having
female bias. So what is preventing females learning to play the lute?
Geez Louise, guys. Someone wrote that 95 of the most recent 100
posts were from men. That highly
On Sep 10, 2009, at 1:45 PM, Laura Maschi wrote:
Even if I can't play too well, I try to put my soul in it,
You and Voldemort...
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On Sep 5, 2009, at 6:07 AM, David Rastall wrote:
But I don't understand: with all the transposing going on between
465, and 415, what is the outcome pitched at? When TK says, put the
whole thing in Eb, and the thing is ready, my question is: Eb tuned
in what?...415 or 465?
They're playing
Thanks for the information.
On Aug 31, 2009, at 2:24 PM, Stewart McCoy wrote:
Dear Howard,
Some time ago you were asking about tablature sources where the
tablature is like Luis Milan's, i.e. Italian tablature upside down. I
notice that there is some music added to one of Denss's books,
On Aug 26, 2009, at 6:17 AM, Christopher Witmer wrote:
s improvisational ability something that you either have or you
don't? Or is it something that can be learned? Are there any tips
concerning how my daughter could most effectively approach this?
I'm assuming the skills we're talking about
On Aug 27, 2009, at 12:21 PM, Antonio Corona wrote:
They must be played with a somewhat fast air [so much for the slow
pavan] and it is required that they be played twice or
thrice (Debense tañer con el compas algo apresurado, y requierense
tañer dos o tres veces). Milan does not say
On Aug 27, 2009, at 9:29 PM, Antonio Corona wrote:
You are quite right, but that was not the point I was trying to
make. Rather than questioning how to manipulate the piece, I was
trying to show the inconsistency of forcing a historic category
into a context that contradicts it explicitly.
Nice line near the end: In this noisy world, I think of the lute as
the still, small voice of truth. . I suppose Emma knows a still,
small voice is how God appears to Elijah in 1 Kings 19: 12.
On Aug 22, 2009, at 6:44 AM, Karen Hore wrote:
Just saw this programme scheduled to be on
On Aug 15, 2009, at 9:16 AM, Martin Shepherd wrote:
Er - you need to take the gloves off when you play the lute.
Is this true? Why didn't anyone tell me about this before?
Somewhere between don't shift before a weak note and don't leave
an empty case open when there's a cat around you'd think
Thanks for the handy reference, but the second link works only if
gauges is spelled right:
http://torban.org/images/string-gauges-conversion.pdf
On Aug 4, 2009, at 10:46 AM, Roman Turovsky wrote:
1. The 2 string conversion charts, plain and overspun, comfortably
together -
Some time ago -- I can't remember when -- there was a post or two
about some government official endorsing the views of some other
repressive somebodyorother to the effect that jazz was evil or
subversive of authority because players didn't stick to what was
written. There may have
On Jul 31, 2009, at 9:35 AM, Daniel Winheld wrote:
The mind
is all! Can make a heaven out of hell and a hell out of heaven.
The mind is its own place, and in it self
Can make a Heav'n of Hell, a Hell of Heav'n.
--Satan in Paradise Lost, Book I
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On Jul 23, 2009, at 11:52 AM, Roland Hayes wrote:
What do we think of the ms. with continuo written above a part for
13c. lute in normal d minor tuning for certain arias?
Is it a written-out accompaniment in tablature, clearly in d minor
tuning, with Continuo written above it?
Are these
On Jul 19, 2009, at 1:57 PM, Ron Andrico wrote:
To clarify, Bob Lundberg did indeed think of the circa 60 cm
lute as an
'alto' lute. You are right in pointing out that his book was
not quite
left fully edited as far as consistent terminology, etc. But I
think
he would stand
On Jul 19, 2009, at 9:29 AM, nedma...@aol.com wrote:
In Robert Lundberg's book Historical Lute Construction there is a
photograph of 5 lutes (pp.89); small-octave, descant, alto,
tenor and
bass. He lists the tunings for them as being d, a', g', e' d'
respectively.
While
On Jul 19, 2009, at 2:30 PM, Martin Shepherd wrote:
Whether a lute is called an alto, a tenor, or whatever, is
entirely a matter of taste,
Terminology is entirely a matter of taste only when you're talking to
yourself, or you're the first to use a term. Otherwise, it's a
matter of convention.
On Jul 19, 2009, at 2:56 PM, Thomas Schall wrote:
Which would lead to a standard pitch of a92-415 for the germany
of the baroque.
That's far too limited a range, a mere half tone. In Leipzig alone
in Bach's day, there was a standard chorton (probably about 440) and
a standard kammerton a
On Jul 18, 2009, at 3:26 PM, Andrew Arconti wrote:
I have been using the following tuning which I was told is what the
instrument was made for: A, E, C
You mean B? Or do you have it in guitar tuning?
, G, D, A; but am curious if there are
other tunings appropriate for a lute of this
On Jul 16, 2009, at 9:42 AM, Ron Andrico wrote:
You California types are just going to have to work out what
constitutes humor.
We are eminently qualified for the task, having given the world Marx
Brothers movies, I Love Lucy, Richard Nixon and Ronald Reagan.
--
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On Jul 15, 2009, at 12:35 AM, Lex van Sante wrote:
Also Mr. Falkenhagen seems to have had a very big head in
proportion to the rest of his body.
If the artist/engraver didn't care about this would he be engraving
the lute exactly as it was I wonder.
The left hand also strikes me as
On Jul 15, 2009, at 1:34 PM, Orphenica wrote:
My idea, as Ukuleles are quite small an robust, to me they seem to
be a perfect
instrument for travelling.
About a thousand years ago when I went on the obligatory American
student summer tour of Europe with backpack and Eurailpass, before
On Jul 14, 2009, at 6:11 AM, Roman Turovsky wrote:
Pardon my ignorance again, but is there any reason to connect
Falkenhagen with the angelique? Did he write any music for it? Does
any source mention him and the angelique?
Why would that matter?
Because he would not have sat for an
You did get a bit lost. Roman suggested that an engraving shows
Falkenhagen with an angelique. I wanted to know if there was any
evidence connecting Falkenhagen to the angelique, because Falkenhagen
would not have posed for an engraving with the angelique if he didn't
play it. He would have
On Jul 14, 2009, at 12:16 PM, David Tayler wrote:
I'm assuming you are referring to the concertos and the trios, which
form the majority of his output, in particular Op 3. Are these all
for Angelique?
I wasn't referring to anything at all, just asking a very basic
question: is there any known
On Jul 13, 2009, at 4:51 PM, Roman Turovsky wrote:
I've put together a page with the Falkenhagen engraving and a
detail from an
angelique that is VERY similar to the one he is playing -
http://polyhymnion.org/swv/music/falkenhagen
Interesting. Thanks for putting this up.
I wonder if
On Jul 11, 2009, at 5:43 PM, nedma...@aol.com wrote:
Thanks, Chris and Howard - I like your answers. I must admit that my
curiosity will not be sufficient to motivate me to learn the dance
You can get a basic sense of the scissoring kick-kick-kick-pause or
jump from these:
On Jul 11, 2009, at 12:33 PM, nedma...@aol.com wrote:
Do we know approximately what the tempo of the Galliard was when
danced?
Not really. We can only guess, based on what we know of the dance.
The best way to judge is to try the dance yourself, which, in the
case of the galliard, will
On Jul 10, 2009, at 5:01 AM, Jerzy Zak wrote:
Single strings or double courses? Of course, we know the man, his
opus, obviously a swan neck lute, French tuning, bla bla bla, etc.,
etc. But stop automatic thinking, click again. Wishful thinking, a
florish of knowledge or chaos of evidence? Is
On Jun 30, 2009, at 3:08 PM, David van Ooijen wrote:
So, pointing at the bird I tell the
audience I will play a duet with it. Miraculaously, it's tweeting an
a' at 415, in a steady puls I can play Canarios to! Between phrases I
stop to let it tweet a little solo. Best duet partner I ever
On Jun 16, 2009, at 5:42 AM, theoj89...@aol.com wrote:
Given the popularity of renaissance compositions for lute and
voice, I am surprised that I have not seen a single baroque lute
song (of course, i'm not a musicologist and may not be looking in
the right places)
You're not looking
On Jun 15, 2009, at 4:51 PM, Michael wrote:
I've played
the guitar for 30 years and the thumb-under technique looks to me to
be a tortured anachronism,
I don't think it's tortured, though I don't play that way myself.
Anachronism in this context is a pretty strange word choice.
But Douglas
On Jun 15, 2009, at 11:49 AM, Mayes, Joseph wrote:
I have never heard of a luthier being asked to accommodate a
different style of play in the string spacing at the bridge.
Buyers often specify string spacing when they order a lute. I doubt
they think about whether their style of play is
On Jun 12, 2009, at 10:56 AM, morgan cornwall wrote:
I have a question regarding Howard Posner's comment that a 7 course
lute with the 7th course tuned to D is a different instrument
than the
7 course lute tuned to F. Is it actually a different
instrument, or
was that a matter of
On Jun 12, 2009, at 11:20 AM, wayne cripps wrote:
whatever lute you get, you will
probably change your mind in a few years and want something
different. So get a good lute that you can sell again. I
run a 'lutes for sale' web page, and Larry Brown student lutes
always sell well, and
On Jun 12, 2009, at 3:13 PM, Bruno Correia wrote:
So, you say they are different animals, interesting... but
soundwise,
how would you describe both? More or less ressonant, brighter or
darker
tone, more powerful? Why Piccinini would prefer an archlute and
Michelangelo Galilei
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