[LUTE] Re: Neoethnobaroquenism?

[Max Langer]

There are also the suites of Swedish folk tunes for lute and guitar by
Jakob Lindberg; I surmise they were written in a similar spirit.

Max



On 23 January 2011 01:08, Roman Turovsky r.turov...@gmail.com wrote:
 I have no problem with being taken as contradictory.
 And I take ethnocentrism as a great antidote for modernism.
 Having said that: I don't think that is a good reason to pursue
 ethnocentric composition. I simply love the sounds of the old
 country too much, and I translate them into the lute-language.
 I'm sure Paulo thinks the same way.
 RT


 - Original Message - From: wikla wi...@cs.helsinki.fi
 To: Roman Turovsky r.turov...@verizon.net
 Cc: lute lute@cs.dartmouth.edu; Nancy Carlin
 na...@nancycarlinassociates.com
 Sent: Saturday, January 22, 2011 5:44 PM
 Subject: [LUTE] Neoethnobaroquenism?



 I must second RT's comment. Composing new music using baroque (or
 renaissance) rules and style, and using perhaps 19th and/or 20th century
 opinions, reductions and simplifications of the melodies and styles of
 some
 nation or ethnic group, really is not so common. So in a way there is a
 mixture of a learned, perhaps even a schoolmaster way of taking the
 (baroque) composing rules; and on the other hand, a more or less
 nationalistic way of using the ditties and fancies people were/are singing
 and dancing, to create a Nation, to create a sense of us, who are not
 them.

 For example, when our Finnish national identity was created about at the
 second half of the 19th century, the musicians and poets collected lots of
 folk melodies, poems and songs, and normalized them to the common 19th
 century understanding of what is good and acceptable. No sex, drugs and
 rock'n roll there... Also the wilderness and swing of music was reduced
 to
 tiny, notated folk melodies that were nice starting points to the more
 or less Beethoven/Bach-oriented composers, who then composed their massive
 works out of these flattened and simplified reductions of what the the
 folks really had sung and played...

 I am afraid that composing, writing out every nyance of pitch and
 rhythm,
 will always be something that never meets, what the folks did and do.

 And I think the sex, drugs and rock'n roll really was the case and will
 be the case in the real music of fols. The poor and idealistic
 composers will try to emulate and copy that. But they'll always miss the
 train...

 I sincerely believe that in improvisation music will live and die! I am
 not
 good in improvisation, but the continuo playing is my tiny and happy part
 of that. Actually very important to me. But composing ethnocentric
 music sounds contradictory to me.

 And dear RT, this was not an insult, on the contrary: in writing this I
 was
 really serious.

 Arto

 On Sat, 22 Jan 2011 13:52:26 -0500, Roman Turovsky
 r.turov...@verizon.net wrote:

 Yes, but the ethnocentric retrocomposition is a different and a new

 thing!

 RT
 - Original Message - From: Nancy Carlin
 na...@nancycarlinassociates.com
 To: lute lute@cs.dartmouth.edu
 Sent: Saturday, January 22, 2011 1:49 PM
 Subject: [LUTE] Re: YouTube - Marco Meloni


  There were a couple of other English bands  who have done some
  interesting things
  Steel Eye Span recorded Gaudete be fore anyone else I can think of
  The band with the best name of all Giles Farnaby's Dream Band - a nice
  version of Kemp's Jig
  In a similar vein- but not so much early music Gryphon
  Nancy
  At 08:29 AM 1/22/2011, Sean Smith wrote:

    There are also one German and one French-Canadian
    early music groups who have done a lot of arrangements
    of folk as early music.
    Add Shirley and Dolly Collins recording with Hogwood, Munrow,
    Skeapingx2 and Laird in the late '60s.
    sws
    On Jan 22, 2011, at 5:52 AM, Roman Turovsky wrote:
    In fact, this is pretty rare.
    Aside from Paulo and myself I cam only think of one Swedish
    composer
    Petter Moeller
    who has done something of the sort.

  Nancy Carlin Associates
  P.O. Box 6499
  Concord, CA 94524  USA
  phone 925/686-5800 fax 925/680-2582
  web sites - [1]www.nancycarlinassociates.com
  [2]www.groundsanddivisions.info
  Representing:
  FROM WALES - Crasdant   Carreg Lafar,  FROM ENGLAND - Jez Lowe  Jez
  Lowe  The Bad Pennies, and now representing EARLY MUSIC - The Venere
  Lute Quartet, The Good Pennyworths  Morrongiello  Young
  Administrator THE LUTE SOCIETY OF AMERICA
  web site - [3]http://LuteSocietyofAmerica.org
  --

 References

  1. http://www.nancycarlinassociates.com/
  2. http://www.groundsanddivisions.info/
  3. http://lutesocietyofamerica.org/


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

[LUTE] Re: Why no active historical lutes?

[Max Langer]

I thought Jakob Lindberg (http://www.musicamano.com/) plays one? Also
on Toyohiko Satoh's recording Style brisé it says on original lute!
(sic), though I don't know if he plays it in concert.

/Max the lute-list lurker. Thanks for all the interesting posts guys!


On 20 April 2012 20:23, Herbert Ward wa...@physics.utexas.edu wrote:

 According to Wikipedia, there are many Strativarius violins
 in active use today:
 http://en.wikipedia.org/wiki/List_of_Stradivarius_instruments

 But I never hear of anyone playing a historical lute routinely.
 In fact, it seems rare for anyone to even handle one.

 Is this because the thin soundboard becomes fragile with age?

 --



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[LUTE] Re: insinuations

[Max Langer]

   I don't see why he should stop if he like what he's doing. And there is
   a world of difference between "these unnecessary transcriptions" and "I
   think these transcriptions are unnecessary." just saying. Personally I
   will soon have my first opportunity to explore Anton's work.

   Cheers,
   Max

   On 3 Aug 2016 14:38, "jean-michel Catherinot"
   <[1]jeanmichel.catheri...@cs.dartmouth.edu> wrote:
   >
   >I agree Bruno...
   >Le Mercredi 3 aoA>>t 2016 13h25, Bruno Cognyl -Fournier
   ><[2]fournier...@gmail.com> a A(c)crit :
   >  Anton
   >  let me say that I admire your work very much. Of course playing
   ftom
   >  notation is always good to be able to do and something I have
   taught
   >to
   >  the few students I have had in 40 years, however one can usually
   do
   >  that on one or two sets of tunings..playing in trios and
   quartets
   >with
   >  g, a, c , and d lutes become more tricky for the average guy.
   your
   >  work is fantastic and allows players to be exposed to more than
   just
   >  lute repertoire.   I will be retiring ftom my job in a few years
   and
   >  intend on teaching lute to beginners . your material will be of
   great
   >  use.
   >  one wish..set some medieval pieces   especially the trecento
   stuff...
   >  regards
   >  Bruno Cognyl-Fournier
   >  Montreal
   >  Sent from Samsung Mobile
   >   Original message 
   >  From: Anton Hoeger
   >  Date:2016-08-03 03:24 (GMT-05:00)
   >  To: List Lutelist
   >  Subject: [LUTE] insinuations
   >  >
   >  > Hi everyone,
   >  >
   >  > Martin Hogson wrote:
   >  >
   >  > Dear Anton Hoger,
   >  >
   >  > Have you ever considered learning to play from figured bass?
   This
   >  would save you much mundane work making these unnecessary
   >  transcriptions/arrangements.
   >  >
   >  > MH
   >  >
   >  > Ja natuerlich! Aber was haben meine Renaissance Intabulations
   mit
   >  Dimunitions mit einem figured bass zu tun?
   >  > Das eine hat doch mit dem anderen nichts zu tun.
   >  > Ich habe bisher nur sehr wenig Fruehbarocke Generalbassstuecke
   >  bearbeitet. Ausserdem waeren doch genau diese Ausarbeitungen
   fuer den
   >  Interpreten interessant. Als Anregung, Alternativen oder sogar
   als
   >  fertige Ausfuehrun..
   >  > Meine 10 downloads und Tausend Danksagungen zeigen ein
   anderes
   >  Bild, als Dein   ...making these unnecessary transcriptions!!!
   >  > Bitte unterlasse doch diese Unverschaemtheiten, wenn Du keine
   >Ahnung
   >  hast.
   >  >
   >  > Anton
   >  >
   >  > Yes of course! But how do you bring my Renaissance
   Intabulations
   >with
   >  Dimunitions in relation with a figured bass?
   >  > These one has nothing to do with the other one!
   >  > On the other side I have so far only very few Earlybaroque
   figured
   >  Bass edited pieces. Exactly this Arrangements may be interesting
   for
   >  the interprets. As a suggestion or such ways.
   >  > My 10 downloads and thousand credits show a different
   image
   >than
   >  Your:   ...making these unnecessary transcriptions!.
   >  > Please stop these insinuations, if you have no idea.
   >  >
   >  >
   >  > Anton
   >  --
   >  To get on or off this list see list information at
   >  [1][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >--
   >
   > References
   >
   >1. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   --

References

   1. mailto:jeanmichel.catheri...@cs.dartmouth.edu
   2. mailto:fournier...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Continuo: Score vs Part; also Page-Turners

[Max Langer]

Otherwise music students is a fantastic page turning technology.

Max

Max Langer, PhD

20 rue Diderot
38000 Grenoble
France
+33 631 94 21 92


On 15 March 2017 at 17:53, guy_and_liz Smith <guy_and_...@msn.com> wrote:
> A  melody line is handy, especially for recitative but I'd rather not deal 
> with a full score. Too many page turns.
>
> A related question: what did continuo players use back in the day, i.e., when 
> did we start publishing part music as a score? That's a common practice in 
> modern editions, but most of the 16th and early 17th century music that I've 
> played in various wind bands was originally published as individual parts, 
> often in separate books (Gesualdo being a notable exception). Most of the 
> Baroque music I've played (mainly opera and orchestral continuo) was in 
> (relatively) modern editions, so I'm not sure about the originals. At least 
> some Baroque music that I'm familiar with (Castello, for example), was 
> published as part music; continuo is just another part book.
>
> Guy
>
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf 
> Of howard posner
> Sent: Wednesday, March 15, 2017 9:17 AM
> To: Lute List
> Subject: [LUTE] Re: Continuo: Score vs Part; also Page-Turners
>
> It’s always nice to have the score, or the melodic line, in the continuo 
> part.  I’ve done a lot of cutting and pasting to avoid inconvenient page 
> turns.
>
>> On Mar 15, 2017, at 6:25 AM, Edward Chrysogonus Yong <edward.y...@gmail.com> 
>> wrote:
>>
>>  Dear Lutenetters who play basso continuo,
>>   Is there a preference either way for playing from bass part or full
>>   score, assuming both have the same figures?
>
>
>
>
> To get on or off this list see list information at 
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>

[LUTE] Re: La_Marini=c3=a8re?=

[Max Langer]

Does naming a piece after a fit sailor (at least in the 19th century
there seems to be mention in literature of female sailors/fishermen
(fisherwomen?), eg: Dickens), sailor/merchant wife (or daughter) seem
all that far fetched? Surely music was all about sex, drugs and rolled
chords already back then.

On 11 March 2017 at 10:30, adS  wrote:
> On 11.03.2017 07:10, jslute wrote:
>>
>>
>> There's an English country dance from around the same time called "The
>> Female Sailor," and Vallet seems to have some English connections.
>> Jim Stimson
>
>
> I have "discovered" this already - this dance was written by Marais in 1706
> :(
>
> Rainer
>
> There is another Mariniere by Campra which doesn't help, either.
>
> PS
> Is it real that difficult to press reply instead of "reply to all"?
>
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Perrine's table annex

[Max Langer]

Dear all,

Perrine's "Livre de Musique pour le Lut" one can find a bit everywhere
(imslp, scribd, ...), but the "Table pour aprendre a toucher le Lut
sur la basse continue" is always in unreadable quality for some
reason. Would anyone have a copy to share (unless it's under copyright
for some reason)?

Kind regards,

Max Langer, PhD

20 rue Diderot
38000 Grenoble
France
+33 631 94 21 92



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[LUTE] Je requier...

[Max Langer]

   Dear luters,
   I used to have a typeset version of Je requier.../Dufay but can't for
   the life of me find it. Does anyone have a pdf to share?
   Kind regards,
   Max Langer

   --


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[LUTE] Re: Early Music life

[Max Langer]

   Hello,
   Quite hard to come by musicians interested in early music here I find
   (Grenoble and Lyon, France), but just started a small amateur chamber
   group, and just recently found out there's an amateur baroque orchestra
   in Vienne. See where that leads!
   Cheers,
   Max Langer

   Le  3 janv. 2018 15:14, "Robert Purrenhage"
   <[1]pastimesmu...@cs.dartmouth.edu> a écrit  :

Hallo Tristan,
Answers in order:
Zur geflickten Trommel - Gesandtenstr Regensburg.
One pre-concert picknick music in park in Philadelphia last
 summer
(Piffaro)
We have feasts at home several times per year, usually with early
 music
- several small groups or ad hoc.
Bob Purrenhage
On Wednesday, January 3, 2018, 8:44:15 AM EST, Tristan von
 Neumann

  <[2]tristanvonneum...@gmx.de> wrote:
  Happy New Year to all who are on the European calendar.
  Here's one question - is there any noticeable Early Music life going
   on
  in your neighborhood, besides the 19th/20th century concert context
  (which I always find a bit awkward)?

  Ever heard of a bar where there are Early Music jam sessions?

  Have you ever seen Early music picknicks in the park or in the
   woods?

  Do you play table music at your own private dinner parties?

  To get on or off this list see list information at

[1][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:pastimesmu...@cs.dartmouth.edu
   2. mailto:tristanvonneum...@gmx.de
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Cherbury lute book

[Max Langer]

   I use a galaxy tab s2 and a Donner page turner. Heartily recommended.
   On 31 January 2018 at 18:16, Bruno Cognyl-Fournier
   <[1]fournier...@gmail.com> wrote:

Although I like to have printed facsimiles and editions in
 general, I
find PDF's more and more practical for browsing quickly through
 the
music and printing only what you want to play.I am actually
considering buying a large table so I can read straight from the
 pdf,
even in concert..
Bruno

  2018-01-31 11:17 GMT-05:00 Ron Andrico
   <[1][2]praelu...@hotmail.com>:
   Dear Chris:
   I'm writing in response to Hector's lute list posting on the
subject of
   the Herbert facsimile under consideration for publication.I
would buy
   the Lute Society facsimile edition, and would actively
   encourage
others
   to do so as well.
   There is a certain misconception that, because pdf facsimiles
   may
be
   readily available from libraries, there is no longer a need
   for,
nor a
   demand for, good quality printed editions of lute music.I
   have
   observed that while lute players love to collect music, and
   also
love
   to get free music, there is simply no replacement for a
well-designed
   printed edition that includes essays on historical background
   and
   concordances.
   I'll wager that most downloaded facsimile editions are simply
archived
   on hard drives and remain there unused.And as much as
technophiles
   love to tout the latest i-pad gizmos, nothing can replace real
paper
   music on a music stand.I'm not the only person who has
observed that
   information from a printed page is mentally processed much more
   effectively than information on a backlit screen.
   Yes, please do what is necessary to advance the Herbert
   facsimile
   project.
   Best wishes,
   Ron
 
__

 From: [2][3]lute-...@cs.dartmouth.edu
 <[3][4]lute-...@cs.dartmouth.edu>
  on behalf
 of Hector Sequera <[4][5]hectorl...@mac.com>
 Sent: Wednesday, January 31, 2018 1:55 PM
 To: [5][6]lute@cs.dartmouth.edu
 Subject: [LUTE] Re: Cherbury lute book
 Good afternoon,
 In reply to the original question, the Lute Society just
 sent an
  email
 to its membership to assess whether or not there is any
 interest
  on
 this. Your reply to the message below may determine the fate
 of
  this
 project. If interested simply reply to the secretary at:
 [6][7]lute...@aol.com <[1]mailto:[7][8]lute...@aol.com>
 Here is the original message sent this morning to the LS
 list:
 âââââââââââââââ
 1. HERBERT OF CHERBURY LUTE BOOK FACSIMILE â WOULD YOU BUY
 A
  COPY?
 We have been talking for some years about producing a
 facsimile
  of the
 Herbert of Cherbury lute book, the last great English
 renaissance
  lute
 manuscript, with music from 6 to 10 courses, but there have
 been
 delays.
 We don't need prepayments or subscriptions but we need to
 have
  some
 idea of demand â especially as sales of facsimiles are less
 than
  they
 were, with some much available online.
 If a facsimile of the Herbert of Cherbury lute book were
 similar
  in
 format to our beautiful Dd.2.11 facsimile, and similar in
 price -
   £50
 to members - WOULD YOU VERY PROBABLY BUY A COPY? PLEASE
 REPLY TO
  THIS
 EMAIL TO LET US KNOW!
 And let us know if this would be too expensive, but you
 would buy
 simple, say, black and white reproduction, for, say £25.
 ââââââââââââââââ
 Best wishes,
 Hector
 > On 31 Jan 2018, at 13:39, Matteo Turri
  <[8][9]matteo.o.tu...@gmail.com>
 wrote:
 >
 > On 28 January 2018 at 12:42, Denys Stephens
 <[1][9][10]denyssteph...@sky.com>

   > wrote:
   >
   > Dear Matteo,
   >
   > Thanks for your email! The subject of the planned
   Cherbury
   facsimile
   > was discussed at the Lute Society committee meeting held
last
   December,
   > and there was still strong interest in