Dear Bruno,
The best study of the Capirola Ms. is the Otto Gombosi edition published
by SMA in 1955 - it's a work of truly outstanding scholarship and essential
reading for those interested in the early Italian repertoire. The Federico
Marincola translation of the instructions is extremely valuable
Hi Denys, thanks for the info. I'll check Gombosi's text.
Best wishes.
2010/5/20 Denys Stephens <[1]denyssteph...@ukonline.co.uk>
Dear Bruno,
The best study of the Capirola Ms. is the Otto Gombosi edition
published
by SMA in 1955 - it's a work of truly outstandin
Dear Leonard,
That's very good news! Thanks for forwarding this. They must surely have
made colour photos of the manuscript - so we may at last be able to
see it all in its full glory and find out how much of a part colour plays
in the notation.
The downside is that we probably will never now see
I got my copy of Dd.2.11 in yesterday's mail and you folks did a
wonderful job on this! After c3 hours I have had a chance to flip the
pages and play some of the music. I love the color because I can
finally see the tops of the pages. In the old microfilm I have of this
manuscript,
Leonard and Denys,
I for one, have said for years that a full color reproduction of
Capirola would be marvelous!
Although Milan has been available for quite some time in various
formats, I bought this summer the Spanish Vihuela Society's new full
color facsimile, and it is glorious!
ed
At 03
Full color ricercars, some of the finest motet settings on the
planet, 14th century chansons, giraffes, hippogriffs, peacocks,
cheetahs, monkeys, monkey riding cheetah!, bunnies, lions, unicorns
AND the family dog? What's not to like?
Most enchanted evenings with lute do not involve fir
Just take it to a print shop, they make cheap colour laser copies
nowadays. Use thick quality paper and let them bind it - voilá
Regards,
Stephan
Am 18.11.2010, 02:24 Uhr, schrieb Sean Smith :
Full color ricercars, some of the finest motet settings on the planet,
14th century chansons,
-- Forwarded message --
From: franco pavan <[1]f.pava...@gmail.com>
Date: 2011/11/8
Subject: Capirola
To:
This is a dream...
[2]http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/pages/actua
lites.asp
many greetings and be happy with this marvelous o
Oh, this is beautiful! Many thanks to everyone who helped make this
happen!
Sean
On Nov 8, 2011, at 5:17 AM, heiman.dan...@juno.com wrote:
As of today, there is a digital facsimile of the Capirola lutebook on
line in a marvelous presentation, full color!
http://ricercar.cesr.univ-tours
Although I have a book of S.P.E.S. but this is very excellent!
*
Toshiaki Kakinami
E-mail : tk...@orchid.plala.or.jp
Blog : http://kakitoshilute.blogspot.com
*
-Original Message-
From: lute-..
It looks great!
I seldom write, but I do read these emails-- and I wait for such
trinkets.
Thanks
Neil
On Tue, Nov 8, 2011 at 9:31 AM, T.Kakinami
<[1]tk...@orchid.plala.or.jp> wrote:
Although I have a book of S.P.E.S. but this is very excellent!
**
Wow is that cool or what? I love the magnify feature.
Many thanks to all who engineered this.
Dan
On Nov 8, 2011, at 5:17 AM, heiman.dan...@juno.com wrote:
> As of today, there is a digital facsimile of the Capirola lutebook on line in
> a marvelous presentation, full color!
>
> http://ricerca
At last!! Vincenzo's student decorated this book so beautifully so that
the maestro's music might live on despite changes in musical tastes. How
appropriate that our new technologies should be used to further that cause.
Imagine: only one copy in the world!
Leonard
On 11/8/11 8:17 AM, "heiman
Fan-tas-tic!!
Thanks to everyone invloved in this project.
2011/11/8 Leonard Williams <[1]arc...@verizon.net>
At last!! Vincenzo's student decorated this book so beautifully so
that
the maestro's music might live on despite changes in musical tastes.
How
This is a longtime wish come true, thanks to anyone involved!
Grtz. Lex
Op 8 nov 2011, om 13:26 heeft franco pavan het volgende geschreven:
> -- Forwarded message --
> From: franco pavan <[1]f.pava...@gmail.com>
> Date: 2011/11/8
> Subject: Capirola
> To:
> This is a d
Porca Vacca! I can't believe it!!!
Oink!
dt
__
From: Sean Smith
To: Daniel F Heiman ; lute
Sent: Tue, November 8, 2011 6:22:19 AM
Subject: [LUTE] Re: Capirola!
Oh, this is beautiful! Many than
Dear Luca and all,
There is no on-line facsimile of Capirola. I have wished, for years, that
someone would publish a high quality color facsimile and I have asked
various publishers if they would be interested, but the reply was that the
cost would be very prohibitive. I recall a few years ba
Dear Edward, Luca and others
On 5/22/2009, "Edward Martin" wrote:
> There is no on-line facsimile of Capirola. I have wished, for years, that
> someone would publish a high quality color facsimile and I have asked
> various publishers if they would be interested, but the reply was that the
> co
it would appear so...
2017-07-10 17:15 GMT-04:00 Leonard Williams <[1]arc...@verizon.net>:
Is this year the 500th anniversary of the Capirola MS?
Leonard
To get on or off this list see list information at
[2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
Yes, indeed, and the 50th anniversary of the "Summer of Love" :D
G.
On Mon, Jul 10, 2017 at 11:15 PM, Leonard Williams
<[1]arc...@verizon.net> wrote:
Is this year the 500th anniversary of the Capirola MS?
Leonard
To get on or off this list see list information at
[
Try Frederico Marincola's web site. Lutebot #1 has a translation of at least
part of the Capirola text. http://www.marincola.com/
Guy
-Original Message-
From: Orphenica [mailto:[EMAIL PROTECTED]
Sent: Sunday, July 22, 2007 5:12 AM
To: Bernd Haegemann
Cc: lute@cs.dartmouth.edu
Subject:
Capirola uses his own system of ornamentation & fingering, and there
is even a system for dividing the the paired courses and playing some
extra "impossible" notes. If you look at the color facsimile, you
will see some of these in red.
For this reason, the trills are often left out or misinterpr
Well spotted! This occurs in the first piece in the book too - and it
has puzzled me for a while. My preliminary conclusion is that it
indicates use of the thumb, especially when you would normally expect to
use another finger. For instance, in bar 8 of the first piece:
3
-2
DT writes
>A new examination of treatises up through Vivaldi shows that the
>main note trill was in continuous use
through the renaissance and baroque. I think the tracing of the trill
through the renaissance into the high baroque is one of the main
interpretive differences in modern performanc
On Jul 22, 2007, at 8:35 PM, David Tayler wrote:
> It used to be unheard of to use the main note trill in
> later baroque music, but now it is relatively common; the next step
> is the use of the above note trill in early baroque music as well as
> in renaissance music, shaping & resolving the tri
Mr Rastall makes an excellent point.
At 08:31 PM 7/22/2007, you wrote:
>On Jul 22, 2007, at 8:35 PM, David Tayler wrote:
>
> > It used to be unheard of to use the main note trill in
> > later baroque music, but now it is relatively common; the next step
> > is the use of the above note trill in ea
Jeez David, you must hold the record as the earliest switcher to
thumb under.
On Jul 23, 2007, at 4:13 AM, David Tayler wrote:
> As a somewhat younger lute player in 1971, I read the introduction
> and was shocked that the information was different
> from what all my teachers were telling me, s
I think I'm just old :)
Perhaps Dombois was one of the first? I've never really thought about it.
dt
At 01:47 AM 7/23/2007, you wrote:
>Jeez David, you must hold the record as the earliest switcher to thumb under.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/
I think Michael Schaffer was one of the first in our times to explore
"thumb under".
ed
At 02:25 AM 7/23/2007 -0700, David Tayler wrote:
>I think I'm just old :)
>Perhaps Dombois was one of the first? I've never really thought about it.
>
>dt
>
>
>At 01:47 AM 7/23/2007, you wrote:
> >Jeez David,
Paul Odette told me:
When I arrived in Basel in 1973 I was amazed to hear some of the
other students playing without nails and making an exquisite sound. I
cut off my nails, but discovered that the quick of my nails are so
high that I ended up scratching across the end of the nail rather
th
On Jul 23, 2007, at 7:17 AM, Edward Martin wrote:
> I think Michael Schaffer was one of the first in our times to explore
> "thumb under".
And now after 35 years of lute revival, we seem to be exploring thumb-
out again. Pretty soon we'll be ready to agree that Julian Bream
was right after
Am 23 Jul 2007 um 10:39 hat David Rastall geschrieben:
> And now after 35 years of lute revival, we seem to be exploring thumb-
> out again. Pretty soon we'll be ready to agree that Julian Bream
> was right after all. ;-)
That would give us some more doubling or converting guitarists, whic
Denys
-Original Message-
From: Martin Shepherd [mailto:[EMAIL PROTECTED]
Sent: 22 July 2007 22:56
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Capirola question
Well spotted! This occurs in the first piece in the book too - and it has
puzzled me for a while. My preliminary conclusion
est wishes,
>
>Denys
>
>
>
>
>
>-Original Message-
>From: Martin Shepherd [mailto:[EMAIL PROTECTED]
>Sent: 22 July 2007 22:56
>To: lute@cs.dartmouth.edu
>Subject: [LUTE] Re: Capirola question
>
>
>Well spotted! This occurs in the first piece in th
Dear David,
When you see the strict alternation of the dots above
and below successive notes in the few early sources
where it is used, the intention is very clear that it
represents right hand thumb and forefinger. It's really
not plausible that in a running passage every other note
has an ornamen
Absolutely.
I was only speaking of Capirola, where there are so many ornament signs.
I think it may well be the thumb, as I said before, and having looked
again, that seems more likely than ornaments, as you say. It is also
possible that Vitali copied from a collection of different pieces,
which
Am 24 Jul 2007 um 2:50 hat gary digman geschrieben:
> Does somebody have a problem with playing both or even more instruments, not
> necessarily at the same time, "not that there's anything wrong with that"?
As far as I can see, lute and guitar are as seperated in the conservatories and
so on as
positions on large lutes (Baroque lutes/Theorbos) and end up in a
playing position that _can_ lead to severe injuries. Just be careful.
HTH Ralf Mattes
> All the Best,
> Gary
>
> ----- Original Message -
> From: "Stephan Olbertz" <[EMAIL PROTECTED]>
> T
--
From: "Stephan Olbertz" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, July 25, 2007 1:01 AM
Subject: [LUTE] Re: Capirola question
> Am 24 Jul 2007 um 2:50 hat gary digman geschrieben:
>
> > Does somebody have a problem with playing both or even more instruments,
no
Although exotic animals like monkeys were kept in aristocratic
menageries, giraffes were rarely seen in Europe.
https://en.wikipedia.org/wiki/Medici_giraffe
"The Medici giraffe was a giraffe presented to Lorenzo de' Medici in
1487 possibly by al-Ashraf Qaitbay, the Burji Sultan of Egypt, in an
Maybe he had seen Domenico Ghirlandaio's fresco in the Tornabuoni Chapel
in Florence?
"The Adoration of the Magi by Domenico Ghirlandaio, part of a cycle in
the Tornabuoni Chapel was painted just after the arrival of the Medici
giraffe and shows the animal descending a hill on the right-hand s
[1]https://en.wikipedia.org/wiki/Medici_giraffe
Sent from my iPad
On 27 Jul 2020, at 1:43 am, Tristan von Neumann
wrote:
How did the illuminator (Mr. Vidal?) know how a Giraffe looks?
https://upload.wikimedia.org/wikipedia/commons/a/a7/Capirola_lutebook.j
pg
--
Ref
See also this:
https://www.researchgate.net/profile/Patricia_Lurati/publication/336944609_The_Merchant%27s_Eye_A_New_Perception_of_Exotic_Animals/links/5dbc0eda4585151435db7f1e/The-Merchants-Eye-A-New-Perception-of-Exotic-Animals.pdf
"While in Egypt, in 1436, Ciriaco [d'Anconna] saw a giraffe, an
That doesn't mean artists can correctly draw exotic animals...
[1]https://www.zmescience.com/other/medieval-elephant-56720/
On 27.07.20 15:24, Bruno Cognyl-Fournier wrote:
The African continent has been travelled to since the middle ages..
Le �dim. 26 juil. 2020 à �11:48, Tr
Thank you! Interestingly that "beginning" does make more sense to me
when played only when the piece is repeated. It makes me wonder if
Vidal really meant that this last strain is played as a beginning of
the piece on both times or only on the second time.
G. C. kirjoitti 25.9.2020
Did you mean like this?
--Sarge
On 9/25/2020 09:13, Jussi-Pekka Lajunen wrote:
> Thank you! Interestingly that "beginning" does make more sense to me
> when played only when the piece is repeated. It makes me wonder if
> Vidal really meant that this last strain is played as a beginning
I was responding to this: "Vidal obviously forgot to write the beginning
of the pavan, and adds the bars at the end of the piece."
Like I said, it makes more sense to me, musically, to play that section
only before the preceding bars are repeated, but I admit that the
wording of the Vidal's in
So maybe like this?
--Sarge
On 9/26/2020 14:53, Jussi-Pekka Lajunen wrote:
> I was responding to this: "Vidal obviously forgot to write the
> beginning of the pavan, and adds the bars at the end of the piece."
>
> Like I said, it makes more sense to me, musically, to play that
> section only befo
It's in the Gombosi edition. I'll make you a scan later today. First
back to a Bollywood song for my pupils (...!)
David
***
David van Ooijen
[1]davidvanooi...@gmail.com
[2]www.davidvanooijen.nl
***
On 6 December 20
On 2015-12-06 9:03 AM, David van Ooijen wrote:
First
back to a Bollywood song for my pupils (...!)
Guitar, I hope, not lute!
Geoff
--
Geoff Gaherty
Foxmead Observatory
Coldwater, Ontario, Canada
http://www.gaherty.ca
http://starrynightskyevents.blogspot.com/
To get on or off this l
The original Italian is given (with translation into English) in Otto
Gombosi's edition (1955, rpt 1983), p. lxxxviii-xc (Italian), xc-xcii
(English). Copy at
Indiana U. of Penn. Sorry I forgot to send this earlier. Arthur.
On 12/06/15, Leonard Williams<[1]arc...@verizon.net> w
'allo Tristan,
have a look here:
http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/sources/Capirola_notice.pdf
On 01.11.2017 16:00, Tristan von Neumann wrote:
Ĥello Lutists,
I'd love to print and bind my own Capirola Facsimile (I neither like
black and white or double pages...).
Un
Thanks Bernd :)
This is good - I can print it on A3 and cut and bind it in A5 and
basically have the original format. :)
Am 01.11.2017 um 16:38 schrieb Bernd Haegemann:
'allo Tristan,
have a look here:
http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/luth/sources/Capirola_notice.pdf
Hi Theodore,
That's a big question. But we still have very little evidence about
this.
Bor Zuljan has been experimenting with the âbray lute".
Here is an example:
[1]https://youtu.be/w2lQbXhITLY
All the best,
Guilherme Barroso
Guilherme Barroso
www.guilherme-barroso.
To my ears, this sound, not unlike the sympathetic strings on the
sitar, are rather interesting as a novelty. In the long run, I would
probably grow tired of it, and yearn for the natural "silvery"
sounding lute. But in small doses, absolutely! Perhaps combined with
the fam
This is the sound of the harp the description is referring to:
https://www.youtube.com/watch?v=gBEKrC0ep_M
On 02.12.19 09:40, G. C. wrote:
To my ears, this sound, not unlike the sympathetic strings on the
sitar, are rather interesting as a novelty. In the long run, I would
p
Stephan hat geschrieben:
As far as I can see, lute and guitar are as separated in the
conservatories and so on as
cembalo and piano, probably even more, because you still have some
pianists who
occasionaly try to accompany someone on the cembalo. While we usually
think that the HIP
movement has
In a message dated 7/25/07 1:01:29 AM, [EMAIL PROTECTED] writes:
> it's interesting to see that
> it still can be reasonable to play lute instruments with guitar technique
> (with only minor
> adjustments).
>
While I may be wrong, I believe that Gary was not referring to playing the
lute wit
in history, i.e. thumb under v. thumb
out, nails
v. flesh, hand extended v. hand near bridge, etc?
Gary
- Original Message -
From: "David Tayler" [2]<[EMAIL PROTECTED]>
To: "lute-cs.dartmouth.edu" [3]
Sent: Wednesday, July 25, 2007 3:11 AM
Subject: [LUTE] Re: Capirola
On Jul 25, 2007, at 6:11 AM, David Tayler wrote:
> I do think we have to get away from any idea that one style is better,
> or more "authentic", that is the undercurrent that prevents us from
> exploring all the possibilities of the instrument, limiting us
> somewhat to Historically Blurry Perform
h, hand extended v. hand near bridge, etc?
>
> Gary
>
> - Original Message -
> From: "David Tayler" <[EMAIL PROTECTED]>
> To: "lute-cs.dartmouth.edu"
> Sent: Wednesday, July 25, 2007 3:11 AM
> Subject: [LUTE] Re: Capirola question, now lu
etc?
Gary
- Original Message -
From: "David Tayler" <[EMAIL PROTECTED]>
To: "lute-cs.dartmouth.edu"
Sent: Wednesday, July 25, 2007 3:11 AM
Subject: [LUTE] Re: Capirola question, now lute & classical guitar
> Stephan hat geschrieben:
> As far as I can
Hi Werner,
I'm afraid _that_ "i" is just a bleeding from the previous page. (You'll
find a lot of strange signs in Capirola under the magnifying glass that are
just due to "bleeding"!
Incidentally, two dots over a cypher in Capirola does not mean a right hand
fingering, but is a "mordent" ornamen
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