Mathias,
My post was only techincally glued to your reply, I know you are into
the baroque lute.
On 2008-10-24, at 12:12, [EMAIL PROTECTED] wrote:
One can buy Weiss or Logi on an archlute if it's for fun or pleasure.
Equally well one can try Pulenc on theorbo or Kapsperger on modern
harp, or Gershwin on balalaika
That's a bit of a stretch, don't you think? Italian lutenists like
Zamboni or dalla Casa were contemporaneous to Weiss and Logy,
Weiss had
been to Rome for quite a while and had started his carreer there. I
simply wanted to know to what extend music by Logy or Weiss in
tablatures for D minor tuning is specific to that tuning
But I've never heared of anybody trying, say, Gianoncelli (1650) on d-
m lute, despite Julien Blovin, the famous French lute teacher activ
in Italy, or Zamboni, however he lived almost contemporary to the so
called Polinski's MS with an inscribtion "Venetijs. 7. 7br. 1712".
Quite feasible, isn't it? - but I've never heared of this kind of
experiments (perhaps of myself ;-))
But why the real baroque lute is such a black sheep
Would you agree with me, then, that there are at least four
distinct
black sheep?
* 11c French
* 12c double headed (much of the repertoire French, again)
* 13c bass rider
* 13c swan neck
Not realy much distinct, concidering the tuning.
Why the few maniacs only use baroque lute tuning for a
continuo, in the age the instrument was born and used?
Not sure if I got your point right, but didn't Benjamin Narvey
recently
make a strong case in favour of HIP continuo playing in D minor
tuning.
Besides that, there still are the Fundamenta der Lautenmusique,
an 18th
century=A0tutor for continuo playing in D minor tuning.
Benjamin Nervey is one of the few noble individuals of whom I was
thinking. And the Fundamenta, plus Perrine print, the Wienna MS and
others makes me thinking that in fact there is more real pedagogical
material - that is hard proof from the period - for continuo practice
on the d-m tuning, then on other lutes -)) Paradox?
Jurek
Mathias
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