That image was actually in reference to the supporters/fans/disciples of Carulli vs. the supporters/fans/disciples of Molino in Paris (i.e., the "Carullists" and "Molinists"). It didn't necessarily have to do with nail use (I don't know if either expressed preferences for nails). Molino's technique was considered a bit radical in his day.
Best, Eugene > -----Original Message----- > From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On > Behalf Of Chris Despopoulos > Sent: Wednesday, May 11, 2011 6:19 PM > To: wikla; Vihuelalist > Subject: [VIHUELA] Re: Baroque guitar culture and habits? > > I'm reminded of the engraving of a riot/melee between those who support > use of the nails and those who do not. Face it... Guitarists are a > weird bunch. > How to you get a guitarists to be quiet? Hand him some sheet music. > What do you call a guitarist who broke up with his girlfriend? > Homeless. > How many guitarists does it take to change a light bulb? 10... One to > change it and nine to say "I could have done that better." > cud > __________________________________________________________________ > > From: wikla <wi...@cs.helsinki.fi> > To: Vihuelalist <vihuela@cs.dartmouth.edu> > Sent: Wednesday, May 11, 2011 5:10 PM > Subject: [VIHUELA] Baroque guitar culture and habits? > Dear "flat back lutenists", > I just read: > >> I did :-) And I don't understand your edition. > > Perhaps you need to go back to school and learn some more > counterpoint. > Here we go again! Dear baroque guitarists, why cannot you be friends > supporting and adding up each others' brilliant ideas - as we lutenists > do > (or are we really?) - instead of fighting of every 7th and its > resolution, > and every borduna/ocave in stringing? Is this actually a phenomenon of > (modern) "classical" guitar culture brought to b-guitar world, too? I > still > remember my old guitarring times, when I was very "Yepesian" and was > fighting against the "Segovians", who were fighting against us. > Something > similiar here? > To me we "round back lutenists" are much more liberal (well, at least > relatively, compared to b-guitarists) in accepting different ways of > making > our music and stringing our instruments, etc. What could be the > explanation? Is the 5 course guitar really so critical a vehicle, or > does > the Segovian - not Segovian (or Sor-Guiliani?) contradiction affect > still > the guitarists converted from modern guitar to baroque guitar? > Positively, > Arto > PS I suppose the 5 course guitar was actually an extremely free and > wild > instrument - used "as is" and "as wished" here and there by good and > bad > players. I would recommend anything goes. Don't be too clever, play and > strum interestingly... I guess that is most "authentic"... ;-) > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > --
