Yes and often using wire-wounds, However, Jacob Heringman, if we
begin naming names, specializes in this repertoire.
Anhtony
Le 3 avr. 08 à 15:54, Nigel Solomon a écrit :
Anthony Hind wrote:
Jean-Marie and Ed,
No derogatory remarks have come from me on the 8c. Again, I
would just like to say that if someone is hoping to play
Francesco and Dowland on the same lute, then 7c is surely the
better choice, with the 7c in D, that covers much 8c music with
the possibility of stopping the bass course. There are less
additional sympathetic resonances to colour the sound. It is also
historically plausible, while an 8c for Francesco probably is
not; but perhaps I am wrong there. It has been so frequently of
late. On the other hand, if a lutist wants to cover from Dowland
to transitional, the 10c is a better compromise (as shown by
JaKob's Rauwolf). The 8c does not really allow that, does it?
I was taking account of what Rob said he was hoping to do.
Also I will admit that I have usually heard 8c lute with
wirewounds, and the problem of sympathetic resonances are even
worse. I think you and Ed have your lutes gut strung, so the
problem would be much less.
I suppose for someone just specializing in later Elizabethan
music and its close European equivalents, an 8c strung entirely
in gut could be a good solution.
This is what Jacob Heringman uses on his Jane Pickeringe's Lute
book, on his 8 course Martin Haycock after Venere. see for example:
Track 04-Almaine by francis Cuttinge (1:35)
http://magnatune.com/artists/albums/heringman-pickering/04.m3u
Now compare this with the 7c Gerle by the same maker, both are
strung in gut, and with same lutist of course:
http://magnatune.com/artists/albums/heringman-siena/07.m3u
Do you think the 8c sound would function well with the Fantasia?
It is a question of taste, no doubt, but the maker himself,
Martin Haycock (while preferring a 6c lute)
advised the 7c for this multipurpose, and he also said that he
was less happy with 8c lutes in general, exactly for the reason
mentioned above.
Indeed he told me that the two ideal lutes he would like to own
himself, would be the 11c and the 6c, both which he considered
had acheived the ideal balance of poise
and sound before having become over complexified. So no
derogatory remarks implied, but some justification, only slightly
musicological.
Best regards
Anthony
PS Ed my mails rebounce, so you will receive this through the list
Le 3 avr. 08 à 13:02, Jean-Marie Poirier a écrit :
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Sorry to stir things up, but most "top" lute players (POD, Jacob
Lindberg, Hoppy Smith, Eugène Ferré, to name but a few)
invariably choose 8 course rather than say 7 or 10 course lutes in
concerts when they play a bit of everything (from dalza through to
17th century composers in a single concert. Surely there must be a
reason? Most players cannot be bothered to bring along 3 or 4 lutes
and if they are to play everything on one lute, 9 times out of 10
its an 8 course. I think therefore that if you only have 1
renaissance lute you should have an 8 course, even though I am
fully aware you lose alot of the subtleties by not playing
"exactly" the right instrument for all repertoires, you have to
compromise.
Nigel