From: "Jerzy Zak" <[EMAIL PROTECTED]>
Jurek,
There is considerable difference of how music is heard by its
participants
vs. how it is heard by listeners.
That's the paradox. We today removed this music from it's original
milieu and put it on the modern concert platform, on which it most
often creates consternation or at least sonic problems. Of course,
the smaller the venue the better.
Wood paneling helps. Sometimes. The Austian consulate hall in NYC helped
Axel Wolf, but not a whole lot.
My perspicacity tells that all this ensemble music was clearly intended
to be heard just by the participants, with or without very few guests.
Moving this music into our typical venues renders the lute inaudible.
You mean, typical _modern_ venue, I understand. Salvation is in
phonography perhaps, as the Radolt CD prompts.
I am not convinced by that recording, and definitely convinced otherwise by
Hoppy Smith's Hagen etc. one.
One of course could bring in causa Lutz Kirchhoff's efforts, but his
[athletic] approach to the lute in ensemble circumstances is not a
pretty listen.
Lutz and several of us are permanently trying to find their own
solution to the problem, which today is probably unsovable in 100%.
Apparently so.
But I havn't heared any complains when a trio of a singer, lute and
gamba are glorifying the Dowland's name. To be honest, to my ears the
lute is almost inaudible in such setting, and discussions about
poliphony of it's part or consecutive fifths is aimless. Very often
even without gamba.
In fact. However, tomorrow I have to do a pair of cuts from Silva Rerum with
the melody given to the gamba. Hopefully I'll hear myself. I'll be amplified
too.
RT
RT
----- Original Message ----- From: "Jerzy Zak" <[EMAIL PROTECTED]>
To: "Lutelist Net" <lute@cs.dartmouth.edu>
Sent: Friday, October 24, 2008 7:47 AM
Subject: [LUTE] Re: Weiss, Logy and archlute
Matthias,
On 2008-10-24, at 12:17, [EMAIL PROTECTED] wrote:
> > 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.
Some of the best baroque lied composers, indeed, but I cannot see
their
connection to the lute (except for Jakob Kremberg, of course, whom I
shouldn't see among the first of that order, though).
Mathias
The connection is the simplest posiible - these are continuo songs,
most probably for home use, small audience, private entertainment,
like solo lute music of the period, from Reusner to Hagen. Do all the
people then had two instruments at home, and the other one for
continuo was obligatory an archlute or big theorbo??? Nonsense!
Jurek
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