On 2008-10-24, at 03:49, Roman Turovsky wrote:
From: "Jerzy Zak" <[EMAIL PROTECTED]>
doesn't happen to often, I'm afraid). But why the real baroque
lute is such a black sheep, why such a distaste, reluctance or
even aversion? Why the few maniacs only use baroque lute tuning
for a continuo, in the age the instrument was born and used?
I am for one emphatically against such usage, even though I
occasionally do that against my principles, in front of people.
If a baroque lute is audible in an instrumental ensemble- it is
likely because it either played a sour note or was late on the
entry.....
Who then played the Reusner music (MS additions to his printed
music), Radolt (compare recent CD), Kühnel, Lauffensteiner,
Falckenhagen, Hagen, Baron, Meusel, Martino, Weiss, Kropfgans,
Sollnitz, Schaffrath, Kohaut, Haydn, Seckendorf, Daube, Rust... For
whom were the present Augsburg and Bruxelles collections. Who took
pain to assemble the Schweidnitz MS "I Trastulli D’Apollo in suavi
Concerti" and several others... And do not forget about the 'Bach
1025' case.
I do like accompanying a singer though.
RT
Here you are, though you don't like it: H Albert, G Voigtländer, J.H.
Schein, H. Schütz, Ch Bernhard, A. Krieger, J. Rist, T Selle, A
Hammerschmidt, J Nauwach, C Ch Dedekind, J Kremberg, Ph.H. Erlebach,
G.Ph. Telemann, J.V. Görner, J.A. Hasse, J.S. Scholze
(Sperontes),..... not to mention all the less known further east,
survived or not.
Here I see most plainly how the history is selectively used, not
excluding HIP. Quite intriguing, isn't it?
Jurek
Jurek
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