ou will easily find the source.
>
> You are still not getting it. My original statement in this thread, the one
> you are challenging, is that as far as I know, there is no record of a
> performance of the quintets prior to 1926 in Germany. Your sole basis for a
> challenge to t
still not getting it. My original statement in this thread, the one
you are challenging, is that as far as I know, there is no record of a
performance of the quintets prior to 1926 in Germany. Your sole basis for a
challenge to this is this letter from from Boccherini to Pleyel. So let me
>>> That's Benavent, without an e at the end. However, I would be delighted to
>>> stand corrected here, if you could supply the full quotation, and the
>>> precise source for it. Have no fear, I have the entire available literature
>>> on Boccherini
e entire available literature
> > on Boccherini right here in my house. I may have missed something as
> > important as that, and if so, I would like to know what. Thanks in advance.
> > Matanya Ophee
>It is a letter from LB to Pleyel. In it Boccerini also states unequivocally
ld be delighted to
> stand corrected here, if you could supply the full quotation, and the
> precise source for it. Have no fear, I have the entire available literature
> on Boccherini right here in my house. I may have missed something as
> important as that, and if so, I would lik
ghted to
stand corrected here, if you could supply the full quotation, and the
precise source for it. Have no fear, I have the entire available literature
on Boccherini right here in my house. I may have missed something as
important as that, and if so, I would like to know what. Thanks in a
>> It's probably the type of guitar Boccherini heard when he was in Spain,
>
> Probably. Double strung guitars were popular in Spain well into the mid
> 19th century. Still in his Nuevo Método of 1843, Dionisio Aguado continues
> his campaign against double stringing, which
rst couple of
decades of the 19th century, but I do not think you can call these
instruments "baroque guitars". The Baroque was well over by the time
Boccherini settled in Spain. In any case, there are currently only one
source for the Fandango quintet, and that is the de Fossa copy i
Hello!
A couple of years ago, I heard Rolf Lislevand perform the Fandango
quintet. He used a five course baroque guitar. My question is; was this
"authentic" performance? Was the five course guitar still used in Spain at
the time when these pieces where written? It sounded great!
mvh
Are Vidar H
At 01:57 PM 2/8/2005, Rob MacKillop <[EMAIL PROTECTED]> wrote:
>Welcome to this list Matanya.
>
>Is your book on Boccherini/Fossa still available?
It is. It should also be available in any serious research library. One
thing to remember is that the book was published in 1981, an
Welcome to this list Matanya.
Is your book on Boccherini/Fossa still available?
Rob MacKillop
-Original Message-
From: Matanya Ophee [mailto:[EMAIL PROTECTED]
Sent: 08 February 2005 17:20
To: vihuela@cs.dartmouth.edu
Subject: Boccherini
James wrote:
> It's probably the
James wrote:
> It's probably the type of guitar Boccherini heard when he was in Spain,
Probably. Double strung guitars were popular in Spain well into the mid
19th century. Still in his Nuevo Método of 1843, Dionisio Aguado continues
his campaign against double stringing, which m
12 matches
Mail list logo
