Can't afford a lautenwerk :)
No room either....had one for a while and it was really in the way.
Also tuning was very strange. You really have to tune from the middle 
out in both directions because it goes out of tune before you reach the end.

I think a a baroque lute, D mi theorbo, gallichon (or whatever)
and an archlute with eight on the table cover a lot of Bach, not all 
of it, but a lot of pieces.
I really like 8 courses fretted for both continuo and just a small 
selction of solo pieces.
Rather than purchase a quarrel or archlutes, I've opted for the 
multiple tunings/restringing.
There's just a few pieces I really prefer on the archlute, and since 
Bach is to my mind almost all arrangements, it is also a bit different than
a lute composer. Some might say that Bach is not arrangements, but 
the arrangement view is certainly tenable.
I have to say that as far as continuo and recording goes, the pairing 
of the lute with the keyboard, e.g., a low wind pressure style german 
organ with
split stops and two separate eights, is as important, or more 
important, than the precise disposition of the lute. And since the 
organ sound is more fundamental, I tend to choose
instruments that blend with the tuning and sound of that 
instrument.Most of what I do is double continuo.

Of course we all know Bach was a piano salesman, but we have to use 
that info wisely.
dt


At 05:43 AM 12/26/2007, you wrote:
>At 03:28 PM 12/23/2007, David Tayler wrote:
>>When getting an archlute, get one that can be either double or single
>>strung, and have different divisions, e.g. 6+8, 7+7
>>8+6, etc. 8+6 is great for Bach (low F and F sharp; C and C sharp).
>>6+8 great for earlier repertory.
>>More holes; less poles.
>
>After so much concern given to matching the exact instrument and 
>configuration favored by a composer (namely Piccinini), I'm a little 
>surprised by the recommendation of any lute-like thingy, especially 
>an archlute, for playing Bach.
>
>Best,
>Eugene



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