Rob wrote:
I've just been thinking about Bach's bass lines (not the lute/violin/cello
suites) and the impossibility of playing them as written on either a
baroque
lute (either swan or bass rider), an Italian theorbo or a German Continuo
theorbo - only the Gallichon seems capable, and even
Mimmo sent me an interesting idea. He agreed that I could forward it to you
guys. I think Martyn holds a similar position?
Rob
Silk bass strings like the 19th c guitars Rob. My point of wiwe of course
This is why I think that the Gallicone was so suitable on bass line and
powerful. My idea is
Anthony, I usually have to do quite a few takes before I can get
one that doesn't have any gross mistakes in it. One thing that
helps me is to think that if I make a mistake on this take, I can
just erase it and do another. That seems to take some of the
pressure off. I have only played in
Yes, my view is indeed that the gallichon/mandora (both the A and the D/E
size) always used overwound strings and were perhaps even developed especially
to make use of these, then newly invented, strings. I'm afraid tho' that this
is pure speculation since I've no evidence for it other
Sterling,
Still some debate here. The very early (say late 17th/early 18th C) gallichon
(ie tuned in A string length in 90s) does seem to have been differentiated from
the mandora (in D string length in 60s/70s) at that time. But towards the mid
18th C as the smaller instrument became
Dale,
I made both my instruments: the smaller in D based on the Stautinger of 1773
and the large single strung continuo one in A on an instrument by Edlinger in
Prague. I'm not making for others any more but concentrating on research,
playing and directing.
David Van Edwards
Boston Early Music Festival
An astounding assortment of concerts. - The New York Times
Paul O'Dette, lute
Ellen Hargis, soprano
Music of the Italian Baroque
Works by Strozzi, Scarlatti, Cesti, Piccinni, and Kapsberger
Friends and colleagues for over 25 years, Ellen Hargis and Paul
