[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation
- Original Message - From: EUGENE BRAIG IV [EMAIL PROTECTED] To: Roger E. Blumberg [EMAIL PROTECTED] Cc: bill kilpatrick [EMAIL PROTECTED]; LUTELIST lute@cs.dartmouth.edu Sent: Saturday, December 03, 2005 1:32 PM Subject: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation - Original Message - From: Roger E. Blumberg [EMAIL PROTECTED] Date: Saturday, December 3, 2005 4:26 pm Subject: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation Not to worry, taking charango under the wing will not break our back ;') ..And I sincerely doubt anybody would slight you for it because it is as cool an instrument as any other. However, trying to impose a name for it on everybody else of the world, a name with absolutely no precedent in reference to some speculated conceptual heritage that has had absolutely nothing to do with the mindset of the players and builders of the instrument for generations, strikes me as a little silly, a lot disrespectful, and quite inhibitory to communication with other people familiar with the vocabulary. Eugene I think we're in bigger trouble when mindset becomes the key definer of an instrument and family. There is no single mindset that could ever define any musical instrument. Then again, elitism, exclusivity, and snobbery, could be a mindset that's currently part and parcel of the allowed definition of what vihuela were and are, and even what lutes were and are, for that matter. There's all kinds of mindsets that are disrespectful and not representative of the persons, places, and times, people would like to believe they currently represent and speak for. What seems silly to me is the notion that one additional course, the 6th, is the only thing that can make you a man, and a real vihuela player. The term vihuela was in use for hundreds of years before that 6 course lute-tuned slab-constructed plucker showed up. The definition even then changed many times and applied to many instruments, plucked, plectrumed, and bowed, any number of strings, any number of tunings, many styles of playing. Yet now, today, some people seem to feel they have the market cornered on the word, and concept, some single organological definition, configuration, number of decades in one single century, and now even one mindset. I think there might be a couple of historical figures who would question who it is you (the collective) think you're representing and protecting from disrespectful and inaccurate representations, who's name you're using in vain. A similar kind of snobbery exists in people who would define and reserve the word musician only for people who read music. One style, one way, one mindset, one path, for all, that's the ticket. Fall in line, get with the program. I have no burning need to call charango a vihuela. I won't loose any sleep over it one way or the other. Bill has the right to see all the iconography he wants, and to make whatever connections he believes he sees. We're all prone to seeing and hearing what we want to see and hear, and we all apply a different set of filters. And new filters sometimes reveal the darnedest things, by golly. New adaptations, change, _is_ respectful of tradition, and does accurately reflect history. I think all the New World adaptations of original model vihuela-guitars is admirable, commendable, worthy of respect, and inclusion, in that big diverse family of ours. Get over yourselves, comes to mind, for some reason. I do respect what most people are trying to do here, on this list, generally, whatever kind of historical lute they fancy focusing their attention on, 4, 5, 6, 7, 8, 10, 13 courses, bowl-back or flat back, 13th, 14th, 15th, 16th, 17th, or 18th century, seven frets or ten, plucked, plectrumed, or bowed. Right there, that should tell you there is no one way, no one mind-set, no one configuration or style. On one hand, vihuelas of any kind seem to be almost an unwelcomed topic here, grudgingly tolerated, and must be spun-off to a separate and segregated other group and list. And on the other, some are now feeling the need to take up the torch in defense of vihuela, or at least of some three or four decade incarnation of vihuela, an incarnation they might see fit to recognize as being potentially worthy of their consideration and inclusion, yet still a lesser lute, even at 6 courses -- that apparently magical number where respect kicks in, if you're lucky ;'). I'm not looking to make any enemies here, nor insult anyone, nor anyone's love of trying to recreate more authentic period-bubbles to live in and explore. I enjoy the exercise myself. The best bubbles, I think, are usually a little _more_ inclusive, rather than less. That's probably the bottom line, and the thing that's likely to make me react, i.e. any jacket that's just a little too tight, and any club that thinks it's a little too exclusive. Then, I might just
[LUTE] Todays Lute Tune
Dear Lute Players, The Lute Calendar Year has begun! Listen to Todays Lute Tune (MP3) on www.luteonline.de I intend to present the daily tunes, one after each other, throughout the year. All the best Stefan Lundgren To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Mille Regrets
Apparently there are people on the lute list who don't want to join the vihuela list, but who still have an interest in the vihuela. That's fine by me, as long as folk don't mind me cross-posting news of my vihuela uploads to both the lute and the vihuela lists. Alexander Batov brought me two vihuelas (in A and E) to record for the vihuela webpages. I have now uploaded three versions of Mille Regrets as MP3 files - in G, A and E. I can't decide which I think most suitable. Each has different qualities, which lead to a different interpretation. I hope to record the remainder of the Fuenllana Fantasias from Book 4 on the vihuela in A, on which the stretches should be easier. There are now two ways of accessing the mp3 files - either from the individual composer's page, for example http://www.musicintime.co.uk/Narvaez.htm for the three versions of Mille Regretz, or from a Recording Dates Page http://www.musicintime.co.uk/dates.htm which has all the recordings (now over an hour of free vihuela soundfiles with scores) with the dates they were recorded and uploaded. This might be useful if you have lost track of what you have heard so far. When Alexander was here in Edinburgh, we were given access to the magnificent collection of historical baroque and classical guitars in Edinburgh University, thanks to curator, Darryl Martin. The Sellas 5c guitar was stunning, and eminently playable. Likewise a Pages 6 course. Maybe one day I'll be allowed to record them. Rob MacKillop www.musicintime.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Theorbo and continuo
I played a long time ago a few Kapsberger pieces for theorbo with a figured bass (on the organ), and am wondering if there's anything else for a solo theorbo and continuo. Thanks, Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Theorbo and continuo
Pittoni! Spes Edition Donatella http://web.tiscali.it/awebd - Original Message - From: dc [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Sunday, December 04, 2005 11:29 AM Subject: [LUTE] Theorbo and continuo I played a long time ago a few Kapsberger pieces for theorbo with a figured bass (on the organ), and am wondering if there's anything else for a solo theorbo and continuo. Thanks, Dennis To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Pittoni, was: Theorbo and continuo
On Sun, 4 Dec 2005, Donatella Galletti wrote: Pittoni! Spes Edition Yes! Ferrara 1669. Lots of Sonate da Chiesa and Sonate da Camera! The only problem is the tuning; seems to be so that in places the second string or choir should be in upper octave, in other places in lower octave! Andrea Damiani(?) has speculated in the LuteBot that perhaps a choir of two stings - high and low - could solve the problem. Does anyone in the List have any practical experience of performing Pittoni? All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation
They're easy to build,,I've built 3 for my medieval music group. It 's basically a long rectangular box. I 've used thin plywood and, just 3 bars on the top ( 3 equal parts) and use a standard guitar string set, but some are actually built using steel strings. I don't know if historically they had metal strings or gut strings. I tune mine to c-g-c-g-c-g but use a sliding second bridge to eventually tune it quickly in D or other keys. I have another one that was built by a friend with a curved bridge, allowing the strings to be tune to different keys, , say a pair in CG and another in CF and other in DG , allowing the change of keys within the same piece. I believe the Ttun Ttun in the Basque region, sometime has little metal hoops over the strings on the bridge to get more of a buzzing sound from the strings vibration. One of the players in my group manages to play it along with a 3 hole flute, I,ve tried but not easy. We use it a lot in the group as a drone /percussion instrument . Goes well with a lot of the Cantigas de Santa Maria. Bruno www.estavel.org Sean Smith wrote: Hi Bruno, Thanks for the note! I had no idea. I've recently started working w/ a med/ren group and will approach the piper w/ the idea. A Ttun Ttun? Lovely onomotopeia --like, dare I say it, charango. ;^) I worked my way through college at a small but very good french restaurant and served quite a bit of your sauce. I will definitely check out your links! all the best, Sean On Dec 3, 2005, at 11:58 AM, bruno wrote: For your infromation, the 3 or 4 string drone harp played with a stick, is a Tambour de B?arn, known in english as a string drum.? It is still played nowadays in my country, in the Bearn region (also know for its bearnaise sauce). The Bearn is in the pyrenees moutnains.? This string drum is also known as a Ttun Ttun and is played by the Basques. You can view more information on it by going to the following website (in French) http://www.instrumentsmedievaux.org/pages/tambor23.htm? It is always played together with a 3 hole flute, just like the Tabor and Pipe .? A search in Google under Ttun Ttun, under the picture category, will bring you lots of sites on this traditional instrument, that has been in existence since the middle ages. Bruno lutenist and various medieval instruments player www.estavel.org Sean Smith wrote:Roger, Thanks for putting these out for us! Concerning: http://www.thecipher.com/braccio- viol_MadreDeDeusRetable_early16th_deta.jpg Does this count as a trio or a quartet? (a quintet if the closest person is singing?) The idea of a pipe-and-drum player is well known but I hadn't heard of this combo. Might that be a 3 or 4 string drone harp that he's playing --w/ a stick? There was little or no standardization in _any_ string instrument plucked or bowed. All it needs is strings, chromatic frets, some kind of resonator body, and the tuning of your choice. Evidently early citterns weren't caught up in that need for chromatic fretting: http://www.theaterofmusic.com/cittern/old/cittern7/cittern7.html so there's one less restriction on what they could or wouldn't do. And, bill, if you like little strummy things you might enjoy the rest of Andy's site: http://www.theaterofmusic.com/cittern/index.html You realize that if you tune a 4c charango (if I might be so bold) w/ two 4ths on the outside and a maj 3rd in the middle you are all set for the renaissance guitar repertory. all the best, Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Re: Pittoni, was: Theorbo and continuo
Yes, I performed it both with harpsichord and organ, and I think it's great fun. I don't remember about the problem with tuning, but I did not play all of the sonatas Donatella PS Arto, where is the site where we can see Father Christmas and his deers? Lots of snow in Milan, it looks like the big North.. http://web.tiscali.it/awebd - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: Donatella Galletti [EMAIL PROTECTED] Cc: dc [EMAIL PROTECTED]; lute@cs.dartmouth.edu Sent: Sunday, December 04, 2005 11:57 AM Subject: [LUTE] Pittoni, was: Theorbo and continuo On Sun, 4 Dec 2005, Donatella Galletti wrote: Pittoni! Spes Edition Yes! Ferrara 1669. Lots of Sonate da Chiesa and Sonate da Camera! The only problem is the tuning; seems to be so that in places the second string or choir should be in upper octave, in other places in lower octave! Andrea Damiani(?) has speculated in the LuteBot that perhaps a choir of two stings - high and low - could solve the problem. Does anyone in the List have any practical experience of performing Pittoni? All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation
I don't think you're quite getting my point, Roger. I don't perceive six as any kind of magic number to make a chordophone player a real man; I'm perfectly happy with as few as four, and, if I could score a bass colascione, I would happily enjoy three. My point is that an instrument type, in all its diverse conceptualizations in all the heads of their builders and makers, are named whatever people are calling them. This isn't Linnean systematics, so any conceptual heritage to any instrument type is not necessaruly relevant in their naming. It doesn't matter if there is a direct line between the diverse instruments pictured as vihuela in the 16th c. and the charango; there is nothing like genetic material and Darwinian evolution preserving the essence of 16th-c. vihuela in modern derivatives. By the time things called charango were being built, the things called vihuela in the 16th c. had been gone from the memories of musicians for generations. When the thing called vihuela in 16th-c. Spain was active, nothing quite exactly like the modern charango was in use, even if the differences between charango and those old things were relatively trivial. Of course, the name vihuela has been active since, having been absorbed by guitar-like things used in folk musics, but those modern vihuelas are not the same instrument type as that used in the 16th c, just as my 6-string guitars are not the same instrument type as the guitars of the 16th or 17th c. I don't have anything against all the diverse instruments of the world, and I take no issue with Bach being played by the bayan or the de Murcia fandango being played on the charango if the performer can make it happen and is sincere. ...But playing Bach on a bayan doesn not make a bayan a pipe organ in spite of the keyboard. I don't like the renaming of an instrument type in disregard of any names with precedent. I'm particularly close to instruments named things like mandolin, mandolino, armandolino, etc. The thing Vivaldi, Handel, or Scarlatti would have recognized as mandolino was misunderstood for centuries after it fell into disuse, renamed things like mandore or pandourina by modern curators because it didn't look like the things they knew as mandolin. This had the unfortunate side effect of isolating a rich tradition and body of 18th-c. repertoire from the instrument type for which it was intended. I simply regard renaming perfectly good, existing instrument types without precedent a bad policy, regardless of their conceptual ancestry. Best, Eugene - Original Message - From: Roger E. Blumberg [EMAIL PROTECTED] Date: Sunday, December 4, 2005 3:53 am Subject: Re: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation There's all kinds of mindsets that are disrespectful and not representativeof the persons, places, and times, people would like to believe they currently represent and speak for. What seems silly to me is the notion that one additional course, the 6th, is the only thing that can make you a man, and a real vihuela player. The term vihuela was in use for hundreds of years before that 6 course lute-tuned slab-constructed plucker showed up. The definition even then changed many times and applied to many instruments,plucked, plectrumed, and bowed, any number of strings, any number of tunings, many styles of playing. Yet now, today, some people seem to feel they have the market cornered on the word, and concept, some single organological definition, configuration, number of decades in one singlecentury, and now even one mindset. I think there might be a couple of historical figures who would question who it is you (the collective) think you're representing and protecting from disrespectful and inaccurate representations, who's name you're using in vain. A similar kind of snobbery exists in people who would define and reserve the word musician only for people who read music. One style, one way, one mindset, one path, for all, that's the ticket. Fall in line, get with the program. I have no burning need to call charango a vihuela. I won't loose any sleep over it one way or the other. Bill has the right to see all the iconographyhe wants, and to make whatever connections he believes he sees. We're all prone to seeing and hearing what we want to see and hear, and we all apply a different set of filters. And new filters sometimes reveal the darnedestthings, by golly. New adaptations, change, _is_ respectful of tradition, and does accuratelyreflect history. I think all the New World adaptations of original model vihuela-guitars is admirable, commendable, worthy of respect, and inclusion,in that big diverse family of ours. Get over yourselves, comes to mind, for some reason. I do respect what most people are trying to do here, on this list, generally, whatever kind of historical lute
[LUTE] Fuenllana F8
Fantasia 8 from Book 4 - played on a vihuela in A, MP3 plus usual tab and transcription. This is a very playble and beautiful piece. http://www.musicintime.co.uk/dates.htm Or http://www.musicintime.co.uk/Fuenllana.htm Rob MacKillop www.musicintime.co.uk To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation
May I, for the sake of convenience and mutual understanding, suggest an old German custom. During the old nasty days when there still was such a thing like the GDR, those who wouldn't or couldn't accept it (e. g. quite a few newspapers) kept putting it in quotation marks. How about vihuela (= charango) and vihuela (= what it is traditionally thought to have been)? All the best, Mathias EUGENE BRAIG IV [EMAIL PROTECTED] schrieb: I don't think you're quite getting my point, Roger. I don't perceive six as any kind of magic number to make a chordophone player a real man; I'm perfectly happy with as few as four, and, if I could score a bass colascione, I would happily enjoy three. My point is that an instrument type, in all its diverse conceptualizations in all the heads of their builders and makers, are named whatever people are calling them. This isn't Linnean systematics, so any conceptual heritage to any instrument type is not necessaruly relevant in their naming. It doesn't matter if there is a direct line between the diverse instruments pictured as vihuela in the 16th c. and the charango; there is nothing like genetic material and Darwinian evolution preserving the essence of 16th-c. vihuela in modern derivatives. By the time things called charango were being built, the things called vihuela in the 16th c. had been gone from the memories of musicians for generations. When the thing called vihuela in 16th-c. Spain was active, nothing quite exactly like the modern charango was in use, even if the differences between charango and those old things were relatively trivial. Of course, the name vihuela has been active since, having been absorbed by guitar-like things used in folk musics, but those modern vihuelas are not the same instrument type as that used in the 16th c, just as my 6-string guitars are not the same instrument type as the guitars of the 16th or 17th c. I don't have anything against all the diverse instruments of the world, and I take no issue with Bach being played by the bayan or the de Murcia fandango being played on the charango if the performer can make it happen and is sincere. ...But playing Bach on a bayan doesn not make a bayan a pipe organ in spite of the keyboard. I don't like the renaming of an instrument type in disregard of any names with precedent. I'm particularly close to instruments named things like mandolin, mandolino, armandolino, etc. The thing Vivaldi, Handel, or Scarlatti would have recognized as mandolino was misunderstood for centuries after it fell into disuse, renamed things like mandore or pandourina by modern curators because it didn't look like the things they knew as mandolin. This had the unfortunate side effect of isolating a rich tradition and body of 18th-c. repertoire from the instrument type for which it was intended. I simply regard renaming perfectly good, existi! ng instrument types without precedent a bad policy, regardless of their conceptual ancestry. Best, Eugene - Original Message - From: Roger E. Blumberg [EMAIL PROTECTED] Date: Sunday, December 4, 2005 3:53 am Subject: Re: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation There's all kinds of mindsets that are disrespectful and not representativeof the persons, places, and times, people would like to believe they currently represent and speak for. What seems silly to me is the notion that one additional course, the 6th, is the only thing that can make you a man, and a real vihuela player. The term vihuela was in use for hundreds of years before that 6 course lute-tuned slab-constructed plucker showed up. The definition even then changed many times and applied to many instruments,plucked, plectrumed, and bowed, any number of strings, any number of tunings, many styles of playing. Yet now, today, some people seem to feel they have the market cornered on the word, and concept, some single organological definition, configuration, number of decades in one singlecentury, and now even one mindset. I think there might be a couple of historical figures who would question who it is you (the collective) think you're representing and protecting from disrespectful and inaccurate representations, who's name you're using in vain. A similar kind of snobbery exists in people who would define and reserve the word musician only for people who read music. One style, one way, one mindset, one path, for all, that's the ticket. Fall in line, get with the program. I have no burning need to call charango a vihuela. I won't loose any sleep over it one way or the other. Bill has the right to see all the iconographyhe wants, and to make whatever connections he believes he sees. We're all prone to seeing and hearing what we want to see and hear, and we all apply a
[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation
- Original Message - From: Sean Smith [EMAIL PROTECTED] To: Lutelist lute@cs.dartmouth.edu Sent: Saturday, December 03, 2005 12:48 PM Subject: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation Hi Bruno, Thanks for the note! I had no idea. I've recently started working w/ a med/ren group and will approach the piper w/ the idea. A Ttun Ttun? Lovely onomotopeia --like, dare I say it, charango. ;^) I worked my way through college at a small but very good french restaurant and served quite a bit of your sauce. I will definitely check out your links! all the best, Sean here's another picture Sean, also with pipe. http://tinyurl.com/aw3pf I don't have an ID for it, but 1480-1510 feels about right to me. The coloration (at least) reminds me a little of Melozzo da Forli and his series of angel musicians, but I'm fairly certain this isn't him. The off-shoulder draping and bowed knots are red-flagging me for some reason though, like maybe it's later than it at first appears. So maybe I should just play it safe and leave it at no ID ;') Roger To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation
- Original Message - From: EUGENE BRAIG IV [EMAIL PROTECTED] To: Roger E. Blumberg [EMAIL PROTECTED] Cc: bill kilpatrick [EMAIL PROTECTED]; LUTELIST lute@cs.dartmouth.edu Sent: Sunday, December 04, 2005 6:58 AM Subject: [LUTE] Re: For Bill -- Small bodied vihuela-viola-guitars come charango? -- was Re: Bad translation I don't think you're quite getting my point, Roger. I don't perceive six as any kind of magic number to make a chordophone player a real man; I'm perfectly happy with as few as four, and, if I could score a bass colascione, I would happily enjoy three. My point is that an instrument type, in all its diverse conceptualizations in all the heads of their builders and makers, are named whatever people are calling them. This isn't Linnean systematics, so any conceptual heritage to any instrument type is not necessaruly relevant in their naming. It doesn't matter if there is a direct line between the diverse instruments pictured as vihuela in the 16th c. and the charango; there is nothing like genetic material and Darwinian evolution preserving the essence of 16th-c. vihuela in modern derivatives. By the time things called charango were being built, the things called vihuela in the 16th c. had been gone from the memories of musicians for generations. When the thing called vihuela in 16th-c. Spain was active, nothing quite exactly like the modern charango was in use, even if the differences between charango and those old things were relatively trivial. Of course, the name vihuela has been active since, having been absorbed by guitar-like things used in folk musics, but those modern vihuelas are not the same instrument type as that used in the 16th c, just as my 6-string guitars are not the same instrument type as the guitars of the 16th or 17th c. I don't have anything against all the diverse instruments of the world, and I take no issue with Bach being played by the bayan or the de Murcia fandango being played on the charango if the performer can make it happen and is sincere. ...But playing Bach on a bayan doesn not make a bayan a pipe organ in spite of the keyboard. I don't like the renaming of an instrument type in disregard of any names with precedent. I'm particularly close to instruments named things like mandolin, mandolino, armandolino, etc. The thing Vivaldi, Handel, or Scarlatti would have recognized as mandolino was misunderstood for centuries after it fell into disuse, renamed things like mandore or pandourina by modern curators because it didn't look like the things they knew as mandolin. This had the unfortunate side effect of isolating a rich tradition and body of 18th-c. repertoire from the instrument type for which it was intended. I simply regard renaming perfectly good, existing instrument types without precedent a bad policy, regardless of their conceptual ancestry. Best, Eugene Out of curiosity, do you (or anyone here) know approximately when the word vihuela dropped completely out of usage and consciousness in Spain, and then also in the New World lands? Did it ever, in fact? Current Mexican Mariachi bands employ a 5 course Vihuela (their name) but I think that tradition dates back to the early 1900's (only). Is there a few hundred year span and gap where the word essentially disappears from usage and application to guitar-like instruments? Roger To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] CBC concerto recital
Hello, friends! If any anybody happens to be at their computer (a good bet!), or at a radio in Canada, you might be curious to listen to my CBC radio concerto recital which is being broadcast right now (Sunday, 12:00 noon Eastern time). You can listen on CBC Radio Two, which you can stream at this site: http://www.cbc.ca/listen/index.html# http://www.cbc.ca/listen/index.html This is a live performance of Baroque lute concertos by Hagen Fasch ( solos by Weiss) performed in the Glenn Gould Studio here in Toronto. Details here: http://www.cbc.ca/musicaroundus/ Many thanks! Cheers, Lucas Lucas Harris 20 Webster Avenue Toronto, ON M5R1N7 Canada Tel/Fax: (416) 925-0747 [EMAIL PROTECTED] -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] 3 Sarmaticae as video clips...
Dear lutenists, I joined Roman's project of performing his arrangements of Ukrainian music. In my page http://www.cs.helsinki.fi/u/wikla/mus/own/Sarmatica/ there are 3 video clips of Sarmaticae (numbers 35, 63 and 91). The files are quite big, but megabytes are just megabytes... ;) The text of my page says: In his page IV. MUSICAL EXAMPLES: Renaissance Lute Tabulatures Roman Turovsky has published a huge amount of Ukrainian folk music arranged for renaissance lute. He has invited musicians contribute their interpretations of this wonderful music. I found out that easiest to me is to record video clips with my tiny digital camera. The quality of sound is perhaps not very good, and the AVI-files are quite big. And I did not have the programs to edit these clips at all - also my pushing the buttons are included. But perhaps it is anyhow interesting also to see the pieces played? My interpretations are not polished at all - just one take and that's it. Especially the number 35 really was my first try, whether the quality of the camera AVI's is bearable. But I had some fun already in playing that first try, and that is why also it is here. You can find all this music (and lots more!) as pdf tabulature in Roman's page. Actually in these video clips I read the tabulature directly in the computer screen. The light of the screen can be seen on the Botticelli's Venus behind me...:-) And I definitely play thumb under... All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 3 Sarmaticae as video clips...
Arto Wikla wrote: Dear lutenists, I joined Roman's project of performing his arrangements of Ukrainian music. In my page http://www.cs.helsinki.fi/u/wikla/mus/own/Sarmatica/ there are 3 video clips of Sarmaticae (numbers 35, 63 and 91). The files are quite big, but megabytes are just megabytes... ;) The text of my page says: In his page IV. MUSICAL EXAMPLES: Renaissance Lute Tabulatures Roman Turovsky has published a huge amount of Ukrainian folk music arranged for renaissance lute. He has invited musicians contribute their interpretations of this wonderful music. Bravo Arto. I especially like your playing of the first one. And what an attractive idea. - to give a little video performance. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Barto Pictures
If anyone is interested, pictures from Bob Barto's concert and masterclass here in Cleveland in October are posted on the LSA website: http://www.cs.dartmouth.edu/~lsa/old/ClevelandBaroque2005/Retrospective.html Daniel Shoskes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Have yourself a lutey little Christmas...
Dear all, Does anyone have any Christmas music out there that has been arranged for baroque lute? Or even better, is there any contemporary Christmas music extant for the instrument? All best, B To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 3 Sarmaticae as video clips...
Dear lutenists, I joined Roman's project of performing his arrangements of Ukrainian music. In my page http://www.cs.helsinki.fi/u/wikla/mus/own/Sarmatica/ there are 3 video clips of Sarmaticae (numbers 35, 63 and 91). The files are quite big, but megabytes are just megabytes... ;) The text of my page says: In his page IV. MUSICAL EXAMPLES: Renaissance Lute Tabulatures Roman Turovsky has published a huge amount of Ukrainian folk music arranged for renaissance lute. He has invited musicians contribute their interpretations of this wonderful music. I had a go too! http://homepage.ntlworld.com/s.walsh/misjac/misjac.html Sorry, Roman, it's not a great performance of your arrangement. And the card in the camera ran out before the end of the piece. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: 3 Sarmaticae as video clips...
Dear Arto and Stewart! Now, this is what Comintern should have been! THANKS, it is a real honor! I will link my page to your videos ASAP, if you caould keep them up for awhile! And if you still have any enthusiasm left- try playing/recording them 30% slower. Their vocal originals are not fast at all. RT - Original Message - From: Arto Wikla [EMAIL PROTECTED] To: lute@cs.dartmouth.edu Sent: Sunday, December 04, 2005 2:51 PM Subject: [LUTE] 3 Sarmaticae as video clips... Dear lutenists, I joined Roman's project of performing his arrangements of Ukrainian music. In my page http://www.cs.helsinki.fi/u/wikla/mus/own/Sarmatica/ there are 3 video clips of Sarmaticae (numbers 35, 63 and 91). The files are quite big, but megabytes are just megabytes... ;) The text of my page says: In his page IV. MUSICAL EXAMPLES: Renaissance Lute Tabulatures Roman Turovsky has published a huge amount of Ukrainian folk music arranged for renaissance lute. He has invited musicians contribute their interpretations of this wonderful music. I found out that easiest to me is to record video clips with my tiny digital camera. The quality of sound is perhaps not very good, and the AVI-files are quite big. And I did not have the programs to edit these clips at all - also my pushing the buttons are included. But perhaps it is anyhow interesting also to see the pieces played? My interpretations are not polished at all - just one take and that's it. Especially the number 35 really was my first try, whether the quality of the camera AVI's is bearable. But I had some fun already in playing that first try, and that is why also it is here. You can find all this music (and lots more!) as pdf tabulature in Roman's page. Actually in these video clips I read the tabulature directly in the computer screen. The light of the screen can be seen on the Botticelli's Venus behind me...:-) And I definitely play thumb under... All the best, Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ $0 Web Hosting with up to 200MB web space, 1000 MB Transfer 10 Personalized POP and Web E-mail Accounts, and much more. Signup at www.doteasy.com
