[BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale

[Matthew Daillie]

I'm sorry Roman but that really is a very personal point of view. I have a 
second-hand instrument with bridge spacings of 150 mm which I find too wide and 
have played well set up lutes with bridge spacings of 140 mm which are far more 
comfortable. Indeed, I don't believe that I have ever come across a 13-course 
with such wide spacings as the ones you recommend.

The overall width of the bridge is just one factor. The type of stringing, 
tension, dishing, as well as the space between the strings of each course are 
certainly others. Additionally, one's technique is obviously a major 
consideration: thumb out or thumb in (if one is still trying to play 
renaissance lute in conjunction with baroque), the position of the right-hand 
in relation to the bridge, etc, etc

best

Matthew

On 23 juin 2014, at 20:35, r.turov...@gmail.com wrote:

 I won't be able to play on less than 155mm bridge width.
 
 It is a common mistake to make ca.145mm bridges, assuming some mythical 
 standard.
 
 All these instruments eventually end up on the secondary market due to 
 unplayability.
 
 Sent from my iPhone
 
 On Jun 23, 2014, at 10:38 AM, Anton Birula image...@cs.dartmouth.edu wrote:
 
 Thanks David:))
 Indeed this spacing is the most usual today. I do not really know what Roman 
 means Is it to narrow for him or to wide. All our lutes have always been 
 146 -147,
 one can easily look for LUTEDUO on youtube to check if it is playable or not 
 :)
 
 Best wishes, Anna  Anton
 
 
 
 On Mon, 6/23/14, David Van Edwards da...@vanedwards.co.uk wrote:
 
 Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale
 To: Matthew Daillie dail...@club-internet.fr
 Cc: baroque-lute@cs.dartmouth.edu
 Date: Monday, June 23, 2014, 3:11 PM
 
 Dear All,
 
 The variation in historical models is very wide. 
 You might be interested in these examples. 
 Players should choose for their own comfort.
 
 BRUNER,  Martin   
 1764Prague   
 
152
 BURKHOLZER, Hanns1596   
 Vienna KHM44 / 4056 / NE
 48153
 EDLINGER,  Thomas   
 1734Leipzig   
 497   
155
 EDLINGER,  Thomas   
 1734Leipzig   
 3319   
155
 GOLDT,  Jacobus Henricus   
 1734London 
 VA4274-1856155
 HOFFMANN,  J C   
 c.1720Berlin   
 129   
145
 HOFFMANN,  J Cc.
 1720London, 
 Horniman1975 506 LAB
 4792148
 HOFFMANN,  J C1720   
 Leipzig506   
 
153
 HOFFMANN,  Martin   
 169Nurnberg  GNM   
 MI 245   
142
 HOFFMANN, J. C.1730   
 BrusselsM 3188   
 
 141
 HOFFMANN, J. C.1720   
 Paris CNSME 529   
 
 146
 HOFFMANN, J. C.c.1720   
 HornimanLAB 4792   
148
 HOFFMANN, J. C.St.
 Petersburg1346   
 
 145
 HOFFMANN, JC1720   
 ParisE 529   
 
146
 HOFFMANN, Martin169?   
 NürnbergMI 245   
142
 MALER,  Laux1555   
 NurnbergMI 54   
 
 143
 RAUCHE,  Michael   
 1762London 
 VA9-1871   
150
 SCHELLE,  Sebastian   
 1744/8NurnbergMI
 46   
 142
 SCHELLE,  Sebastian   
 1721Nurnberg   
 902   
 143
 SCHELLE, Sebastian1721   
 NürnbergMIR 902   
143
 TIEFFENBRUCKER,1610?   
 Den HaagEc 555-1933   
155
 TIEFFENBRUCKER   [Edlinger?]   
 1732?Vienna KHMAR
 969156
 UNVERDORBEN, Marx1607
 ??Prague   
 656   
154
 UNVERDORBEN, Marx158?   
 Fenton House   
152
 VENERE / SCHELLE   
 Leipzig MIMU3357   
148
 WIDHALM,  Leopold   
 1755NurnbergMIR
 903   
 148
 WIDHALM, Leopold1755   
 NurnbergMIR 903   
148
 JAUCH, Andreas1734   
 Copenhagen   
 
 161
 JAUCK, Johannes1734   
 Vienna KHM   
 
 165
 
 Best wishes,
 
 David
 
 
 
 
 At 14:01 +0200 23/6/14, Matthew Daillie wrote:
 I am not familiar with this lute but 13-course 
 bridge spacings vary roughly between 140mm and 
 152mm so I don't see why this pretty classic 
 R.H. spacing should make it 'unplayable'.
 
 Best
 
 Matthew
 
 
 On 23 juin 2014, at 12:17, Roman Turovsky lu...@polyhymnion.org
 wrote:
 
  Caveat emptor.
  My understanding is that this lute has bridge
 
 spacing of 146mm, which renders it pretty much 
 unplayable.
 
  RT
 
 
 
  On 6/21/2014 3:20 AM, Anton Birula wrote:
 
  Swan neck baroque  lute by Anatoli 
 Gundilowicz string length 69/95 nice action 
 warm tone works well with all sorts of 
 stringing, good for works by Weiss and Bach as 
 well as for French repertoire. The Body is 
 nice to hold not too deep.
 
  Pictures can be seen here (9 photos)
 
 
 https://www.facebook.com/permalink.php?story_fbid=789657364401930id=193101590724180
 
 
  For More information please contact Anna
 Kowalska :
 
  image31...@yahoo.com
  i...@luteduo.com
  +48663354744
  www.luteduo.com
 
 
 
  To get on or off this list see list
 information at
  http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale

[Matthew Daillie]

It is feasible to redrill the bridge holes but it's a job even (especially?) 
the best lute makers hate doing (the original holes are obviously done before 
the bridge is glued on).

Best
Matthew


On 24 juin 2014, at 16:05, John Lenti johnle...@hotmail.com wrote:

 Whatever else happens, it's not a huge big deal to have the bridge 
 re-drilled, or to get a new nut. If bridge or nut spacing is the one thing 
 you don't like about an instrument, fix it. I had John Rollins re-drill my 
 baroque lute bridge and have never been happier. Some of the original holes 
 are part of the new spacing, he plugged the others. I've seen other lutes the 
 bridges of which look like Swiss cheese, which also seems not to have any 
 deleterious effects. 
 
 Sent from my Ouija board 
 
 On Jun 23, 2014, at 3:39 PM, r.turov...@gmail.com r.turov...@gmail.com 
 wrote:
 
 My hands are small, but I found 154mm to be the absolute minimum I could 
 deal with.
 RT
 
 
 On 6/23/2014 3:49 PM, sterling price wrote:
   Hi--I know we have discussed this at length before, but both of my 13
   course lutes are 157mm for the bridge spacing. I got very used to that
   spacing and now have a hard time with anything smaller or different.
   The 157mm is based on the Edlinger AR969 drawing. I do have pretty big
   hands so that size is good for me. I have found that going between 2
   different scale lengths on 2 different lutes is no problem for the left
   hand, but going between 2 different right hand spacings is impossible
   for me.
   Sterling
   On Monday, June 23, 2014 1:03 PM, Matthew Daillie
   dail...@club-internet.fr wrote:
   I'm sorry Roman but that really is a very personal point of view. I
   have a second-hand instrument with bridge spacings of 150 mm which I
   find too wide and have played well set up lutes with bridge spacings of
   140 mm which are far more comfortable. Indeed, I don't believe that I
   have ever come across a 13-course with such wide spacings as the ones
   you recommend.
   The overall width of the bridge is just one factor. The type of
   stringing, tension, dishing, as well as the space between the strings
   of each course are certainly others. Additionally, one's technique is
   obviously a major consideration: thumb out or thumb in (if one is still
   trying to play renaissance lute in conjunction with baroque), the
   position of the right-hand in relation to the bridge, etc, etc
   best
   Matthew
   On 23 juin 2014, at 20:35, [1]r.turov...@gmail.com wrote:
 I won't be able to play on less than 155mm bridge width.
 
 It is a common mistake to make ca.145mm bridges, assuming some
   mythical standard.
 
 All these instruments eventually end up on the secondary market due
   to unplayability.
 
 Sent from my iPhone
 
 On Jun 23, 2014, at 10:38 AM, Anton Birula
   [2]image...@cs.dartmouth.edu wrote:
 
 Thanks David:))
 Indeed this spacing is the most usual today. I do not really know
   what Roman means Is it to narrow for him or to wide. All our lutes
   have always been 146 -147,
 one can easily look for LUTEDUO on youtube to check if it is
   playable or not :)
 
 Best wishes, Anna  Anton
 
 
 
 On Mon, 6/23/14, David Van Edwards [3]da...@vanedwards.co.uk
   wrote:
 
 Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale
 To: Matthew Daillie [4]dail...@club-internet.fr
 Cc: [5]baroque-lute@cs.dartmouth.edu
 Date: Monday, June 23, 2014, 3:11 PM
 
 Dear All,
 
 The variation in historical models is very wide.
 You might be interested in these examples.
 Players should choose for their own comfort.
 
 BRUNER,  Martin
 1764Prague
 
   152
 BURKHOLZER, Hanns1596
 Vienna KHM44 / 4056 / NE
 48153
 EDLINGER,  Thomas
 1734Leipzig
 497
   155
 EDLINGER,  Thomas
 1734Leipzig
 3319
   155
 GOLDT,  Jacobus Henricus
 1734London
 VA4274-1856155
 HOFFMANN,  J C
 c.1720Berlin
 129
   145
 HOFFMANN,  J Cc.
 1720London,
 Horniman1975 506 LAB
 4792148
 HOFFMANN,  J C1720
 Leipzig506
 
   153
 HOFFMANN,  Martin
 169Nurnberg  GNM
 MI 245
   142
 HOFFMANN, J. C.1730
 BrusselsM 3188
 
 141
 HOFFMANN, J. C.1720
 Paris CNSME 529
 
 146
 HOFFMANN, J. C.c.1720
 HornimanLAB 4792
   148
 HOFFMANN, J. C.St.
 Petersburg1346
 
 145
 HOFFMANN, JC1720
 ParisE 529
 
   146
 HOFFMANN, Martin169?
 NuernbergMI 245
   142
 MALER,  Laux1555
 NurnbergMI 54
 
 143
 RAUCHE,  Michael
 1762London
 VA9-1871
   150
 SCHELLE,  Sebastian
 1744/8NurnbergMI
 46
 142
 SCHELLE,  Sebastian
 1721Nurnberg
 902
 143
 SCHELLE, Sebastian1721
 NuernbergMIR 902
   143
 TIEFFENBRUCKER,1610?
 Den HaagEc 555-1933
   155
 TIEFFENBRUCKER  [Edlinger?]
 1732?Vienna KHMAR
 969156
 UNVERDORBEN, Marx1607
 ??Prague
 656
   154
 UNVERDORBEN, Marx158?
 Fenton House
   152
 VENERE / SCHELLE
 Leipzig MIMU

[BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale

[Matthew Daillie]

The difficulty comes from having to drill a new hole very close to an old one. 
Even if the latter is well plugged, the drill bit often finds its way back into 
the original hole. It is also tricky to make sure the bit comes out the other 
side exactly where you want it to (after all, we are talking about fractions of 
millimetres). Anyway, ask any reputable maker, it's not a job they enjoy doing 
(and I have had it done on a couple of my lutes). Some makers prefer to make a 
new bridge which can be glued on to the soundboard without it being removed, 
but others would only consider fitting a new bridge with the top off.

best

Matthew

On 24 juin 2014, at 18:26, Christopher Wilke chriswi...@cs.dartmouth.edu 
wrote:

 Nothing difficult about it at all. I've drilled a few holes myself on lutes 
 and a baroque guitar and I have zero wood working skills. I used a little 
 tiny hobby drill that I bought from Michael's hobby supply. It's basically 
 just a short aluminum handle like an Exacto knife with a little drill bit set 
 into it. You just physically rotate it back and forth by hand. It's so small, 
 you can get it close and parallel with the soundboard. If you're not an 
 experienced bridge-hole-driller, the real advantage is that you have plenty 
 of time to recognize and correct your aim as you go.
 
 Chris
 
 Dr. Christopher Wilke D.M.A.
 Lutenist, Guitarist and Composer
 www.christopherwilke.com
 
 
 On Tue, 6/24/14, Matthew Daillie dail...@club-internet.fr wrote:
 
 Subject: [BAROQUE-LUTE] Re: Swan Neck Baroque Lute for sale
 To: John Lenti johnle...@hotmail.com
 Cc: r.turov...@gmail.com r.turov...@gmail.com, sterling price 
 spiffys84...@yahoo.com, baroque-lute@cs.dartmouth.edu 
 baroque-lute@cs.dartmouth.edu
 Date: Tuesday, June 24, 2014, 10:42 AM
 
 It is feasible to redrill the bridge
 holes but it's a job even (especially?) the best lute makers
 hate doing (the original holes are obviously done before the
 bridge is glued on).
 
 Best
 Matthew
 
 
 On 24 juin 2014, at 16:05, John Lenti johnle...@hotmail.com
 wrote:
 
 Whatever else happens, it's not a huge big deal to have
 the bridge re-drilled, or to get a new nut. If bridge or nut
 spacing is the one thing you don't like about an instrument,
 fix it. I had John Rollins re-drill my baroque lute bridge
 and have never been happier. Some of the original holes are
 part of the new spacing, he plugged the others. I've seen
 other lutes the bridges of which look like Swiss cheese,
 which also seems not to have any deleterious effects. 
 
 Sent from my Ouija board 
 
 On Jun 23, 2014, at 3:39 PM, r.turov...@gmail.com
 r.turov...@gmail.com
 wrote:
 
 My hands are small, but I found 154mm to be the
 absolute minimum I could deal with.
 RT
 
 
 On 6/23/2014 3:49 PM, sterling price wrote:
Hi--I know we have discussed
 this at length before, but both of my 13
course lutes are 157mm for the
 bridge spacing. I got very used to that
spacing and now have a hard
 time with anything smaller or different.
The 157mm is based on the
 Edlinger AR969 drawing. I do have pretty big
hands so that size is good for
 me. I have found that going between 2
different scale lengths on 2
 different lutes is no problem for the left
hand, but going between 2
 different right hand spacings is impossible
for me.
Sterling
On Monday, June 23, 2014 1:03
 PM, Matthew Daillie
dail...@club-internet.fr
 wrote:
I'm sorry Roman but that
 really is a very personal point of view. I
have a second-hand instrument
 with bridge spacings of 150 mm which I
find too wide and have played
 well set up lutes with bridge spacings of
140 mm which are far more
 comfortable. Indeed, I don't believe that I
have ever come across a
 13-course with such wide spacings as the ones
you recommend.
The overall width of the
 bridge is just one factor. The type of
stringing, tension, dishing,
 as well as the space between the strings
of each course are certainly
 others. Additionally, one's technique is
obviously a major
 consideration: thumb out or thumb in (if one is still
trying to play renaissance
 lute in conjunction with baroque), the
position of the right-hand in
 relation to the bridge, etc, etc
best
Matthew
On 23 juin 2014, at 20:35,
 [1]r.turov...@gmail.com
 wrote:
 I won't be able to play on less than 155mm
 bridge width.
 
 It is a common mistake to make ca.145mm
 bridges, assuming some
mythical standard.
 
 All these instruments eventually end up on
 the secondary market due
to unplayability.
 
 Sent from my iPhone
 
 On Jun 23, 2014, at 10:38 AM, Anton Birula
[2]image...@cs.dartmouth.edu
 wrote:
 
 Thanks David:))
 Indeed this spacing is the most usual
 today. I do not really know
what Roman means Is it to
 narrow for him or to wide. All our lutes
have always been 146 -147,
 one can easily look for LUTEDUO on
 youtube to check

[BAROQUE-LUTE] Re: Gallot titles

[Matthew Daillie]

Dear David,

I don't know whether you have the CNRS edition of Gallot's works. It 
contains a section on the sub-titles used by Gallot for his pieces.


'La comète' is almost certainly the comet in December 1680 which 
inspired the French philosopher Pierre Bayle to write a text criticising 
religious fanaticism and the worshiping of idols at the expense of 
freedom of speech.


Here is what they have to say on 'Le Petit Serail':
(cette pièce) pourrait évoquer les turqueries à la mode, entre autres, 
dans le "Bourgeois gentilhomme" = (this piece) could be a reference to 
the turquerie movement which was in fashion and notably depicted in 
Molière's "Bourgeois gentilhomme".


There is no explanation given for 'La Diamantine' but it can be 
translated as a diamond necklace and so may well refer to a particular 
lady wearing one.


Following in the footsteps of La Fontaine, there is a series of pièces 
with names from the animal kingdom and 'La mouche' (the fly) is one on 
them.


It would appear that these titles were used to help identify a certain 
piece (rather than having to refer to yet another 'allemande' or 
'courante') and were often dedicated to Gallot's acquaintances or to 
different aspects of everyday life. I don't think they should be 
considered as character pieces, unlike many of the later works of a 
composer such as Rameau.


I hope this is of some help.

Best

Matthew

On 15/12/2015 09:02, David van Ooijen wrote:

>>
On 15 December 2015 at 08:42, David van Ooijen
<[1]davidvanooi...@gmail.com> wrote:

 Dear collectedwisom
 Can someone shed any light on the titles of following four
  chaconnes by
 Gallot?


 1) La Comete
 The comet Kirch/Newtons comet of 1680, right?


 2) Le petite Serail
 Now demolshed government building in Beirut, the one that
  preceeded the
 Wikipedia petit Serail from 1884, presumably, right?

<<
Or simply the 'small harem'. More likely?
>>

 3) La diamantine
 A cold lady, perhaps?


 4) La Mouche
 A not-so-cold lady, perhaps?

<<

 ***
 David van Ooijen
 [1][2]davidvanooi...@gmail.com
 [2][3]www.davidvanooijen.nl
 ***
 --
  References
 1. mailto:[4]davidvanooi...@gmail.com
 2. [5]http://www.davidvanooijen.nl/
  To get on or off this list see list information at
  [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

--

References

1. mailto:davidvanooi...@gmail.com
2. mailto:davidvanooi...@gmail.com
3. http://www.davidvanooijen.nl/
4. mailto:davidvanooi...@gmail.com
5. http://www.davidvanooijen.nl/
6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


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[BAROQUE-LUTE] Re: Airs de Cour

[Matthew Daillie]

Hi Ed,

Here are the sources for this air de cour:

http://philidor.cmbv.fr/Publications/Catalogues-de-genre/Catalogue-de-l-air-de-cour-en-France-1602-ca-1660/Liste-des-aeuvres/BOESSET-Antoine-1587-1643-ENNUIS-DESESPOIRS-ET-DOULEURS-air-de-cour

The 'Dessus' part can be found on f.79v here:

http://burrito.whatbox.ca:15263/imglnks/usimg/3/3e/IMSLP401453-PMLP649953-50_btv1b55009378d_-_Bo__sset_A_-_IX._Livre_d_airs_de_cour4_et_5_parties__2e___d__1688_.pdf

I have friends who have recorded this piece so I shall ask them if they 
can give me a copy of the score they worked from and I shall send it to 
you off list.


All the very best for a  Happy New Year.

Matthew

Best  On 02/01/2016 15:07, Edward Martin wrote:

Dear Collective Wisdom,
I am in search of a particular air de cour, Antoine Boesset:  Ennuits,
desespcirs et douleurs.   Apparently, this particular song comes from
the 16th book of Boesst, and Minkoff only published books 1-15.
If any kind soul on this list has the piece, would they be willing to
share it?
Many thanks,
ed

--


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


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[BAROQUE-LUTE] Re: Baroque Lute Stringing

[Matthew Daillie]

Of the main copper-wound strings available, the fullest sounding and 
brightest are the Kürschner followed by the Savarez, then the Aquila Ds 
and lastly the Aquila DEs, which are pretty dull (and are no longer 
being made although several retailers still have quite large stocks 
available).


As far as I am concerned the jury is still out on the Aquila loaded 
nylgut. Many of us have high hopes but there are production problems 
(there has only been one batch so far and many diameters are 
unavailable) and some strings can have considerably sideways amplitude 
when plucked (even causing them to catch neighbouring strings!) as well 
as intonation issues (but that is also true of a lot of wound strings).


Best,

Matthew

On 01/02/2017 22:25, David Rastall wrote:

It seems I am back playing Baroque lute once again, after rather a long hiatus. 
 It’s been long enough that I have forgotten some of the points of conventional 
wisdom concerning stringing.  I’m playing an 11c lute currently strung with 
silver-wound basses and Pyramid nylon mids and trebles.  I’m not so much 
bothered by the sustain of the nylon strings, but if you folks can refresh my 
memory:  what is the best choice of basses to get a sustain which is not 
downright thunky or chunky, but has shorter sustain than the silver-wounds?

David R





To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Baroque Lute Stringing

[Matthew Daillie]

Dear Mimmo,
Thank you for this information. I'm glad all the gauges of the new loaded 
nylgut strings will be available again soon.
Your suggestion to compensate for the extra amplitude by using higher tension 
makes sense but will you be making gauges above 2.2 for the 13th course of a 
baroque lute for example?
Could you explain why the thicker gauges look as though they are all of the 
same diameter? There is no difference in colour either which one would expect 
if there was more copper powder to make them denser.
Are you planning to make longer strings at some point for theorbos?
Best,
Matthew



> On Feb 2, 2017, at 7:20, Mimmo <mperu...@aquilacorde.com> wrote:
> 
> Well, I can add a few informations 
> There are no production problems it shelf. I had an extruder broken so I was 
> obliged to wait the time to fix it. After that I finished the raw material. I 
> received it a week ago. 
> They has more amplitude in the vibration whose problem is mostly because one 
> should compensate the lack of tension when the strings are under tension. In 
> practice they became thinner that any wound strings. In short, if the 
> equivalent gut by calculation is 145 I raccomand  to install a 150 instead. 
> So under tension the final gauge will be the suitable one.
> Yes, there is no problem to switch to a more stiffer plastic blend. The 
> problem is that we lost a bit of brightness. Is it a good idea ? I do not 
> know, people has  the wound strings sound in comparation.
> Take care 
> Mimmo Peruffo 
> 
>> Il giorno 01 feb 2017, alle ore 23:34, Matthew Daillie 
>> <dail...@club-internet.fr> ha scritto:
>> 
>> Of the main copper-wound strings available, the fullest sounding and 
>> brightest are the Kürschner followed by the Savarez, then the Aquila Ds and 
>> lastly the Aquila DEs, which are pretty dull (and are no longer being made 
>> although several retailers still have quite large stocks available).
>> 
>> As far as I am concerned the jury is still out on the Aquila loaded nylgut. 
>> Many of us have high hopes but there are production problems (there has only 
>> been one batch so far and many diameters are unavailable) and some strings 
>> can have considerably sideways amplitude when plucked (even causing them to 
>> catch neighbouring strings!) as well as intonation issues (but that is also 
>> true of a lot of wound strings).
>> 
>> Best,
>> 
>> Matthew
>> 
>>> On 01/02/2017 22:25, David Rastall wrote:
>>> It seems I am back playing Baroque lute once again, after rather a long 
>>> hiatus.  It’s been long enough that I have forgotten some of the points of 
>>> conventional wisdom concerning stringing.  I’m playing an 11c lute 
>>> currently strung with silver-wound basses and Pyramid nylon mids and 
>>> trebles.  I’m not so much bothered by the sustain of the nylon strings, but 
>>> if you folks can refresh my memory:  what is the best choice of basses to 
>>> get a sustain which is not downright thunky or chunky, but has shorter 
>>> sustain than the silver-wounds?
>>> 
>>> David R
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 

[BAROQUE-LUTE] Re: Baroque Lute Stringing

[Matthew Daillie]

Dear Mimmo,
In my opinion there are two factors which need to be given priority even before 
judging the sound of a string. Firstly it has to be true (with no problems of 
intonation going up the fingerboard for stopped strings) and secondly it has to 
be playable: on a well-made and well set up lute, it must not catch on the nut, 
buzz, hit a neighbouring string, hit against the fingerboard, or cause any 
other extraneous noises. If a string has the potential to sound wonderful but 
does not meet these two criteria, then it is of no use whatsoever.
Once that is established, obviously players want a string with a full-bodied 
and stable tone, enough sustain to make voice-leading a pleasure and the 
instrument to sing to the best of its ability and sufficient power to provide 
convincing projection and resonance.
Personally I am looking for a warm and sweet tone with precise fundamentals and 
enough overtones to make the timbre rich and variable.
Oh dear, that does sound like a holy grail doesn't it?
Fingers crossed!
Best
Matthew




> On Feb 3, 2017, at 8:29, Mimmo Peruffo  wrote:
> 
>   Thank you for the suggestion Arto.
>   Unfortunately i cannot do it
>   I already image how confuse the thing will be with the customers.
>   This mean the eford to mannage twice products and honestly I do not
>   like to add cofusion in the factory and with customers already stressed
>   by me!
> 
>   I should do a choice and in fast time: is it better a more elastic
>   string like these are (whith problems related to the fact that maybe
>   stretch tooo much and that the sound is too bright) or it is better to
>   switch to a less elastic plastic support with the advantage that it
>   stretch less, the sound is darker and with less sustain?
>   Hard to do the choice: both solutions are ok; i already tried the
>   second option that is similar to the loaded gut strings
>   Even Anthony Bailes suggested me the second option.
> 
>   Strings or not to strings? this is the question
> 
>   ah ah
>   (my poor english at work)
>   Ciao
>   Mimmo
> 
>   ps
>   which are your suggestion guys?
> 
> 
> 
>   -Messaggio originale-
>   From: Arto Wikla
>   Sent: Thursday, February 02, 2017 9:46 PM
>   To: Mimmo Peruffo ; baroque-lute@cs.dartmouth.edu
>   Subject: [BAROQUE-LUTE] Re: Baroque Lute Stringing
> 
>   Dear Mimmo,
> 
>   if you decide to make the loaded nylgut strings (CD) less elastic, I
>   hope (and wish and urge ;-) ) that you keep also the original elastic
>   version in your repertoire! They work exceptionally well on my Harz
>   arclute, great stuff.
> 
>   And big thanks for your invaluable work!
> 
>   Arto
> 
>>   On 02/02/17 14:03, Mimmo Peruffo wrote:
>> Well, seeing this post I have the idea to switch to these stiffer
>   ones.
>> at the end of the day they are closer to those loaded strings made of
>   gut.
>> I will do some samples in advance.
>> Mimmo
> 
> 
> 
>   To get on or off this list see list information at
>   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
>   --

[BAROQUE-LUTE] Re: F-Pcnrs Ms. sans cote

[Matthew Daillie]

Hi Ernst,

I have a microfilm print-out. The quality is not great but it is just 
about legible. The original tablature look as though it was written out 
in some haste. Contact me off list if you want anything in particular.

In the meantime, here are a couple of links which might be of interest:

http://www.accordsnouveaux.ch/de/DownloadD/files/Luth_et_guitare_Reymes.pdf
http://catalogue.bnf.fr/ark:/12148/cb421573265

Best

Matthew


On 22/02/2017 16:43, Fischer BE (Aon) wrote:

Dear lute friends,

Who can provide me a photocopy or PDF of the manuscript F-Pcnrs Ms. sans
cote [Bullen Reymes Lute Book] Paris, Centre National de Recherche
Scientifique, Bibliothèque, or can give me a clue where and how to obtain a
copy for reference / private purpose.

Thank you, Ernst





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[BAROQUE-LUTE] Re: F-Pcnrs Ms. sans cote

[Matthew Daillie]

If you look at the right-hand column of the BNF Catalogue Général web 
page (under the heading 'Localiser ce document'), you will see that one 
can order a print-out of the microfilm or a digital copy.


Best

Matthew

http://catalogue.bnf.fr/ark:/12148/cb421573265

On 22/02/2017 16:43, Fischer BE (Aon) wrote:

Dear lute friends,

Who can provide me a photocopy or PDF of the manuscript F-Pcnrs Ms. sans
cote [Bullen Reymes Lute Book] Paris, Centre National de Recherche
Scientifique, Bibliothèque, or can give me a clue where and how to obtain a
copy for reference / private purpose.

Thank you, Ernst





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[BAROQUE-LUTE] Re: help please!

[Matthew Daillie]

If only the 4th course is causing a problem then I would certainly 
suspect the distance between the two strings as 3.7 is very close (4.5 
would be a safer option). You could have new holes drilled by a luthier. 
Obviously the thickness of the strings and tensions are other factors to 
take into account, so if you are using gut or nylgut then maybe you 
could try PVF strings which will be thinner because they have a higher 
density. You could also experiment with increased tension (but this will 
mean a slightly thicker string so probably self-defeating!).


Best,
Matthew


On 17/03/2017 12:37, Nicolau wrote:

Hello everyone, I want to ask the whole community for help. I have a problem 
with my baroque laud, the fourth order (fa), makes a crash noise Very annoying 
... the scale is 71cm, and the separation between strings 3.7. Can someone 
guide me how to solve the problem ?. A greeting to all from Menorca.

Nicolau Espinosa







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[BAROQUE-LUTE] Re: E. Gaultier, Cleopatre Amante

[Matthew Daillie]

On 21/09/2017 16:41, Wayne wrote:

Hi Lute People -

  I would like to know which manuscripts E Gaultier’s piece "Cleopatre Amante” 
is in, other than the second Saiznay manuscript.  And perhaps which Gaultier 
composed it.

  Wayne


Hi Wayne,

In addition to the Saizenay manuscript, the CNRS edition gives the 
following concordances for this courante:


Denis Gaultier La Rhétorique des dieux
Brossard Paris, B.N. Rs Vm370
Milleran
Blovin, Prague, University Library Ms. Kk84
Leipzig, Stadtbibl., Ms. II 6 24
Berlin Staatsbibl., Ms. 40068

Best,

Matthew



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[BAROQUE-LUTE] Re: help with translating French titles

[Matthew Daillie]

Hi David,
I think this is more a question of social and historical context than of 
translation. The CNRS edition of the works of Mouton gives possible 
explanations for a number of the subtitles of the pieces, inspired by his 
encounters in the Parisian salons. I can scan the relevant pages and send them 
to you off-list if you're interested.
Best,
Matthew 



> On Dec 7, 2017, at 7:47, David van Ooijen  wrote:
> 
>   Before I start making mistakes with my poor French, or overlook
>   anything (not so) obvious, can the collected wisdom help me translate
>   these titles of pieces by Gaultier and Mouton, and possibly shed some
>   light on the quirkiness of some of them? How is Languedoc connected
>   with la pompe funèbre, or a bucentaure, what is so deliberée about
>   that courante, do we know which Madame and Belle Danceuse he was
>   writing for,  It's for programme notes, so any extra info is
>   welcome.
>   Gaultier:
>   Allemande, le languetock ou la Pompe funèbre ou bien le Bucentaure
>   Mouton:
>   La Deliberée Courant
>   La Bergère Sarabande
>   La Libertine Canarie
>   La belle Espagnole Chaconne
>   Tomeau de Madame, Pavane
>   La belle Danceuse, Gavotte
>   A grande merci in advance
>   David
>   ***
>   David van Ooijen
>   [1]davidvanooi...@gmail.com
>   [2]www.davidvanooijen.nl
>   ***
> 
>   --
> 
> References
> 
>   1. mailto:davidvanooi...@gmail.com
>   2. http://www.davidvanooijen.nl/
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Peculiar pegbox artwork on a Baroque lute

[Matthew Daillie]

This is carved and pierced, not fretsawn.

Best,

Matthew

On 23/02/2018 13:02, Luca Manassero wrote:

Dear list members,
  months ago looking on the French list of instruments for sale I
noticed a baroque lute built in 1980 by Martin Bowers and showing a
very peculiar artwork on the back of the pegbox (see
here: [1]https://www.dropbox.com/s/72nsw585lk9ov1x/13-courseneck.jpg?dl
=0)
(By the way, as far as I know the lute is still for sale)
I thought it came from the lutemaker, but then a few days ago I noticed
exactly the same artwork on a different lute, a picture I think I saw
on Facebook somewhere.
I'm really curious: is it an original "fretsawn" which has been copied
or does it come from some late restauration work (as it happened to the
Edlinger lutes in South Dakota)?
All the best,
Luca

--

References

1. https://www.dropbox.com/s/72nsw585lk9ov1x/13-courseneck.jpg?dl=0






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[BAROQUE-LUTE] Course and Concert with Hopkinson Smith in the south of France

[Matthew Daillie]

   If you are in Europe this Spring, the Ateliers de musiques Aix-Provence
   (a non-profit organization) is putting on a solo concert featuring
   Hopkinson Smith 28 April 2018 in sunny (usually!) Aix-en-Provence,
   France. This is to be followed by three full days of master classes
   open to renaissance and baroque lutenists, guitar players and small
   ensembles of all levels. There are still seats available for the
   concert and a few spaces available for the course.

   For further information, please contact Christine Trincaud at the
   following email address:

   [1]provencea...@gmail.com

   Best,

   Matthew
   --

References

   1. mailto:provencea...@gmail.com


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[BAROQUE-LUTE] Re: London Weiss manuscript is online

[Matthew Daillie]

No, sorry, I spoke too soon. I get the error message as well using two 
different browsers and Windows 7. Haven't tried with a Mac or Unix though.


Best,

Matthew

On 20/06/2018 12:49, Markus Lutz wrote:

Dear Matthew, did that work for you?
Tim and also me tested it, and it didn't work.
But it could be possible, that they changed it already - what would be 
very good!


Best regards
Markus 





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[BAROQUE-LUTE] Re: Help me please!!!

[Matthew Daillie]

The T sign under a chord indicates that one should play the lowest notes with 
the thumb. The upside down v sign before a note indicates an appoggiatura from 
below; the upside down v sign after a note indicates a 'pincé' or mordent, as 
does a v sign after or before a note .

Best,

Matthew


On 24 janv. 2020, at 14:27, Nicolau Espinosa  wrote:

>   Dear Edward,
>   I refer specifically to a kind of letter "t" that appears under a
>   vertical chord of Am A (5) -E (4) -C · (3), and also to a kind of
>   accent sign that sometimes indicates above and times down ...
>   The piece is a Chaconne, La Montespan.
>   Thanks for your kindness.
> 
>   Missatge de Edward Martin <[1]edvihuel...@gmail.com> del dia dv., 24 de




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