Dear Arto,
Lynda Sayce gave a talk at the September 2003 meeting of the Lute Society on
the Gallichon. The talk is printed in the October 2003 edition of Lute News
(Number 67) on pp 7 -10. There is a listing of sources and a short bibliography
at the end of the article.
Best wishes
Charles
-Or
Shortly before his death in 1722, Johann Kuhnau, Bach's predecessor in
Leipzig, asked the town council for money to buy to two gallichons so
they wouldn't have to keep borrowing them. Apparently Kuhnau liked to
use pairs of them in church services. It's not clear whether Bach did.
Arto Wikla
Thanks to everyone for the info!
Especially important source was Pietro Prosser's article in Marincola's
lutebot5: http://www.marincola.com/lutebot5.txt
One question more:
What is/are the source(s) of Richard Civiol's edition of the
"Oeuvres pour Gallichon" by Brescianello. A printed book or
> One question more:
>
> What is/are the source(s) of Richard Civiol's edition of the
> "Oeuvres pour Gallichon" by Brescianello. A printed book or manuscript?
> When were the pieces composed, published/written? Richard does not
> mention these facts in his page or edition. Hi Richard, are you
> t
Having said that, Brescianello, along with the Brussels mandora Ms., is a
good tool for upgrading guitarists to better endeavors.
RT
> > What is/are the source(s) of Richard Civiol's edition of the
> > "Oeuvres pour Gallichon" by Brescianello. A printed book or manuscript?
> > When were the pieces
Dear Roman & others
On Friday 12 August 2005 15:15, Roman Turovsky wrote:
> Arto, not everyone shares your enthusiasm about Brescianello's
> mandora music, which was even (mis)committed to recording at least
> once, by Terrel Stone.
> I personally don't see much in Brescianello's mandora music at
> > It is kind of un-undestandable that so good music is not played (nearly)
> > at all!
> >
> > All the best
> >
> > Arto
> Arto, not everyone shares your enthusiasm about Brescianello's mandora
> music, which was even (mis)committed to recording at least once, by Terrel
> Stone.
> I personally do
Arto, Roman, etc.
I've been reading through the Brescianello on
guitar for the past few weeks. It not the most
sublime music on earth, but it is good listening:
quite interesting with unexpected harmonic twists and
occasional outbursts of drama that are rare in either
the lute or guitar rep
At 08:15 AM 8/12/2005, you wrote:
>Arto, not everyone shares your enthusiasm about Brescianello's mandora
>music, which was even (mis)committed to recording at least once, by Terrel
>Stone..
..And even more (mis)committed on modern guitar to the Dorian Discovery
label by Anthony Glise. I don't
At 09:40 AM 8/12/2005, [EMAIL PROTECTED] wrote:
>Just how different IS the Gallichon
>structurally from our beloved six-coursers?
Much more proto-Wandervogel-like. A couple luthiers' takes:
http://www.vanedwards.co.uk/two.htm#mandoras
http://www.lutesandguitars.co.uk/htm/cat08.htm
To get on
> Would it be heresy to contemplate tuning the
> third course up a half step and performing it on a G
> lute? Just how different IS the Gallichon
> structurally from our beloved six-coursers?
They are barred like baroque lutes.
RT
To get on or off this list see list information at
http://w
e idea has
provided no follow-up. And the chronology would argue otherwise.
ajn
- Original Message -
From: Howard Posner
Cc: Lute Net
Sent: Friday, August 12, 2005 6:30 AM
Subject: [LUTE] Re: Brescianello and Gallichon
Shortly before his death in 1722, Johann Kuhnau, Bach's
> There has been speculation that the instruments in the accounting of
Bach's estate were gallichons, being mistaken by the city official for
lutes. That has led to further speculation that Bach's lute works were
written for some kind of mandora.The lutenist who put
forth the idea has provided
I've
heard nothing more, the other other-wise.
- Original Message -
From: Roman Turovsky
To: Arthur Ness
Sent: Friday, August 12, 2005 11:11 AM
Subject: Re: [LUTE] Re: Brescianello and Gallichon
> There has been speculation that the instruments in the accountin
12, 2005 11:11 AM
> Subject: Re: [LUTE] Re: Brescianello and Gallichon
>
>
> > There has been speculation that the instruments in the accounting of
> Bach's estate were gallichons, being mistaken by the city official for
> lutes. That has led to further specul
I've examined a few and worked on one (Stautinger). Barring is late 'baroque'
lute type with bars tapered along the length (again like some b lutes) and not
deeply salloped like ren lutes and 'fan' barring (like late Schelle) below the
bridge.
Bridges are also b lute type. Neck length general
Hi,
It may be useful for some people to see some of what is being discussed
here, so I put a couple of pictures from the Brescianello MS:
Tuning: http://cbsr26.ucr.edu/wlkfiles/Brescianello_allegro.jpg
First piece, with the beginning almost undecypherable:
http://cbsr26.ucr.edu/wlkfiles/Bresciane
A correction to my previous message: the tunings are at
http://cbsr26.ucr.edu/wlkfiles/Brescianello_tuning.jpg
Alain
Alain Veylit wrote:
>Hi,
>It may be useful for some people to see some of what is being discussed
>here, so I put a couple of pictures from the Brescianello MS:
>Tuning: http://c
Thanks very much for that Martyn,
It probably goes without saying, but of course this material is quite
playable by
lute players too. Simply remove (or ignore) the top course on a
G-lute... and
poof!... a functional mandora/gallichon in D.
Best,
Eric
Martyn Hodgson wrote:
>
>
To get on
Indeed, but bear in mind that string tensions may have been very significantly
higher than the lute (the M/G was known to be more penetrating and hence its
preference in larger scale, esp sacred, works).
MH
Eric Liefeld <[EMAIL PROTECTED]> wrote:
Thanks very much for that Martyn,
It probabl
All this mandora/gallichon talk has me a little worked up. There is a
marvelous matched ca. 1790 mandolino/mandola pair by Presbler in storage at
the Met. Their decor is almost identical and they appear to have been
built as a set. The mandolino is in six courses and I would assume
intended
> All this mandora/gallichon talk has me a little worked up. There is a
> marvelous matched ca. 1790 mandolino/mandola pair by Presbler in storage
at
> the Met. Their decor is almost identical and they appear to have been
> built as a set. The mandolino is in six courses and I would assume
> int
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