Rob
I better send this again to the correct list. Actually, after
writing it, I saw you had already said most of it in a more compact
form.
Ed and all
I am also sure that Rob's lute will be excellent, and as everyone
keeps telling me, the player makes 70% of the sound, I
Rob
My reply to you did not get through (because of photos screen shots
I added). I was just saying that messags on Baroque questions are
contantly sent to the lute list: swan neck, Weiss and nails,
and you yourself reply on that list with no problem. I admit I am
becoming confused. When
Rob
I have just been speaking to Stephen, and he is willing to take
photos of my lute in construction
just as for yours. I will find some way of showing them to the list.
He very much likes the idea, in fact.
Best regards
Anthony
Le 13 déc. 07 à 10:36, Rob a écrit :
To get on or off this
Talk about riddles, where did that feuille de voyage SNCF come from
I haven't taken a train since last year
Anthony
Le 13 déc. 07 à 14:57, Anthony Hind a écrit :
Le 13 déc. 07 à 00:06, Rob a écrit :
Sorry if I made you feel I was criticizing you for asking
questions - far
from
Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: 13 December 2007 14:56
To: [EMAIL PROTECTED]; baroque-lute@cs.dartmouth.edu
Subject: Re: [BAROQUE-LUTE] Re: new 11c!
Rob
I have just been speaking to Stephen, and he is willing to take
photos of my lute in construction
just
Rob, and any one on the Baroque list,
All gut basses take a very log time to settle-in completely, and go
on improving for a surprisingly long time.
However, when I said that to David v. O., he told me it could be my
playing adapting to the strings, rather than the string developping.
Plastic Ukele string free, oups sorry, no really, I don't mean it.
Anthony
Le 14 déc. 07 à 15:53, Rob a écrit :
it is very good to see that you are
finally making your 11c Malers...also that they are plastic free.
Plastic?!
Rob
To get on or off this list see list information at
of a long project
Anthony
Le 14 déc. 07 à 16:46, Rob a écrit :
By plastic you meant nylon strings, I suppose. I thought for a
moment you
were referring to the body!
Rob
www.rmguitar.info
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: 14 December 2007 15:18
Thanks Nigel
I think you are right. I have never heard of Ramée organization
(which doesn't mean much, I mean my not knowing about it), but the
person did say it was a little known company.
I will order it right away.
Did you give the details to the list?
Thanks again, happy end to your
Dear All
Mimmo Peruffo has just sent me these superb photos of a completely
unrestored 11c 'Hans Frei Bologna; Baroqued Matthias Fur/Rom 1683,
71.20 cms vibrating length photographed in January 2005, at the
Kremsmunster: Instrumentenmuseum. Mimmo says, It is clear that this
was
, the value of which he will discover tomorrow!
Rob
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
The example he chooses is Charles Mouton, so we can compare with the
rh position that Rob has also adopted;
Rob: http://tinyurl.com/2dlsa3
Charles: http://tinyurl.com/yvlvvq
Robert
I looked at the photos again, and noticed another variation apart
from the one you mentionned which was as follows:
Only the first is really close to the bridge. (1 and 3 are
relatively close):
1) The first is the Hans Frei in Bologna; Matthias Fux/R=C3=B6m 1683'
thought I'd see that again!
Rob
www.rmguitar.info
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: 17 December 2007 12:40
To: T. Diehl-Peshkur; baroque-lute@cs.dartmouth.edu;
[EMAIL PROTECTED]
Subject: [BAROQUE-LUTE] Re: RH on the bridge?
Theo and Rob
A thought
Theo
According to Joel Dugot, Musique Fran=C3=A7aise pour luth au XVII
si=C3=A8cle
SFL, 1987) there seem to be two Gallots who published tablatures, Le
Vieux Gallot, whose tablatures seem to be in the Leipzig museum, the
only ones signed -vieux Gallot- (but that is not always a
Le 14 janv. 08 à 18:12, Rob a écrit :
Dear Anthony,
I think you'll find the bass register below the 7th course more
problematical than the treble. Not only the sound quality of the
thick-gut
fundamentals, gimped or otherwise, but also the intonation compared
to the
octave neighbours.
Rob, please do not think I am criticising yourself or your lute, or
Martin's work. I am definitley not, and I hope any full reading of my
message will show that.
I am very much interested in the issue you raised, for two separate
reasons : (1) I like gut and I hope to be able to use it, and
Ed
I am still surprised that the long nails succeeded in marking
through the strings. Does anyone know of guitare players leaving
similar marks?
Do you not think that the luthist might have invented some sort of
extentions to his fingers? These things could be made by anyone.
Look at
I hope the original went to Rob with photo
Le 12 fevr. 08 =E0 17:00, Anthony Hind a ecrit :
Rob
Oh dear, that is exactly what I did. It happened for your very
first recording, I seem to remember. I wonder what migh be causing
this. Probably a Mac issue
However clicking on the link works
0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Rob
I seem to be the only one who can't see it. I am on Mac and Firefox
Isi it on the page with De Visée etc?
Regards
Anthony
Le 12 févr. 08 à 12:16, Mathias Rösel a écrit :
Rob MacKillop [EMAIL PROTECTED] schrieb:
It seemed to bring out the best in them. This one is very moving,
and
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
could just remove
the two lowest bass courses, when playing 11c music
(I think that should be easier, from what I have been told); and then
eventually you could put them back for 13c music, when you really
need it.
Regards
Anthony
Le 24 févr. 08 à 11:09, Anthony Hind a écrit :
Le 23 fevr
Oups, I made a slip again, sorry Baroque people.
AH
Debut du message reexpedie :
De : Anthony Hind [EMAIL PROTECTED]
Date : 24 fevrier 2008 11:09:01 HNEC
=C0 : Stephen Arndt [EMAIL PROTECTED],
[EMAIL PROTECTED] Net [EMAIL PROTECTED]
Objet : [LUTE] Re: Rank Amateur Recording # 3
Le 23
Miguel estimates his method should cost somewhere around 40 € to 50
€. I think that sounds about right, if you look at the Damiani edition.
No guarantee of course.
Anthony
Le 24 févr. 08 à 22:43, Anthony Hind a écrit :
Rob and Stephen
About Miguel Serdoura's lute method, Miguel doe
- Original Message -
From: Anthony Hind [EMAIL PROTECTED]
To: Martin Shepherd [EMAIL PROTECTED]; Stuart Walsh
[EMAIL PROTECTED]; Stephen Arndt [EMAIL PROTECTED]
Cc: baroque-lute@cs.dartmouth.edu
Sent: Thursday, February 21, 2008 10:55 AM
Subject: [LUTE] Re: Rank Amateur Recording # 3
Dear Stephen
Alan
If you are in the situation I was when beginning to play again, it
is more a question of getting your hands back into a supple enough
state to be able to do lute exercises.
The index of my left finger after one or two exercises would click,
and then a sort of burning sensation would
Rob
Yes I knew I would receive this message. That is why I have never
mentioned it before; but I was careful to say it has nothing to do
with strength, but everything to do with suppleness, and control. It
seems to make the joints more flexible. I have naturally very
unsupple fingers,
Rob
Had I wanted to do a Schuman on you, I would have suggested this
contraption,
http://tinyurl.com/2uv88o
However, I was addressing Alan Hoyle, who is no beginner in a hurry
to make progress, but apparently in a similar state to how I was,
struggling not to go backwards.
In some
Interesting your finger tips feed-back idea. It is often said that
blind people make sensitive musicians because of their increased
sense of hearing, but perhaps it is just as much to do with their
increased sense of touch.
After reading Matthew Wadsworths article on learning music by
Ed
I am pleased to have triggered so much agreement, although, in none
of my messages did I mention strength, just keeping ones limbs very
supple, which I (like Father William) believe is essential for
relaxation and lack of tension.
Although I must note, that in the exercises, I was given
Rob
As far as I know, so unhappy with his playing was Pascal Monteilhet
(or at least, not progressing enough ... I know the feeling), that he
sold all his lutes and set off for a Pacific island (or similar).
I understand that this was the second time he did something of the
sort. An
Dear Lutists,
I would like to send you a message from Miguel Serdoura, announcing
a lute class and concert with Hopkinson Smith in Aixe en Provence:
Concert and Training course for lute with Hopkinson Smith, from the
22nd to the 25th of May 2008 in Aix-en-Provence
Thursday May 22,
No, it seems to be a new one, as there is a new critical review of
it, in the French lute society magazine.
The review is very positive.
Anthony
Le 9 mai 08 à 15:06, Edward Martin a écrit :
I noticed on Amazon what appears to be a new lute recording by Jakob
Lindberg, Silvius Leopold Weiss:
Dear Baroque lutists
Miguel Serdoura has given me the follwing message to transmit to you:
_
Barricades Mystérieuses - The first solo recording of Miguel Serdoura
will be available in November 2008 on the Deutch Label Brilliant
Classics (www.brilliantclassics.com)
almost immediately after release, before its untimely
demise in anticipation of the new, bilingual, edition. Will the
second
edition be identical to the first (aside from the language)?
Regards,
Jim
On Sat, Aug 23, 2008 at 2:47 PM, Anthony Hind [1]
[EMAIL PROTECTED
Dear lutenists
Miguel Serdoura's Baroque lute method will be out again in
November, at Ut Orpheus
Baroque Lute Method - 356 pages. Paris, 2008, Ut Orpheus.
Available in November 2008, in English and in French.
Price : 70€
Order : www.utorpheus.com
Anthony
To get on or off this
I forgot to give you the mailing address through which the method can
be bought.
[EMAIL PROTECTED]
AH
Le 17 oct. 08 à 21:16, Anthony Hind a écrit :
Dear lutenists
Miguel Serdoura's Baroque lute method will be out again in
November, at Ut Orpheus
Baroque Lute Method - 356
Jim
According to Miguel the new edition contains corrections and other
improvements. I have the old version, and I will probably buy the new
one, and use the old one as my working copy, on which I will allow
myself to pencil in LH indications.
Anthony
Le mardi, 2 déc 2008, à 21:12
Dear Lutenists
In the last month I have received two excellent Baroque lute
CDs, that very nicely complement each other. Both contain music by
Kellner, but the pieces do not overlap, and while Ed Martin's CD also
contains music by Conradi, in Miguel Serdoura's CD there is music by
well
on to say that without the presence of a
text, all speculation is possible.
Anthony
Le 30 déc. 08 à 11:16, Anthony Hind a écrit :
I agree that the gigue form, in French lute music could have
determined the degree of imitation possible when evoking the
tocsein. It might nevertheless
Sorry like David, replied to the wrong list
Dear Chris and All,
According to Miguel Serdoura (p111-123) in his Baroque lute
method, there is one explicit mention of damping in Mace (1676). He
indicates the damping of a note with two small dots before it., and
calls this effect Tut.
of Saint-Louis. He died peacefully in 1736.
Anthony
Le 12 janv. 09 à 15:34, Anthony Hind a écrit :
I would think the most famous, and also the last French Corsair
would have been Surcouf:$
I found this about him in wikipedia (although I always treat this
source with caution, and I have
I forgot to say surely it must be Duguay-Trouin.
Anthony
Le 12 janv. 09 à 17:26, Anthony Hind a écrit :
Michel Cardin being both a French speaker and a specialist on
Weiss, of course I bow to his greater knowledge, but wasn't
Blackbeard a pirate, in modern French, Corsair is very much
Oh well, I just thought of searching specifically for Fameux
corsaire barbe Barbe Noire, and I found that things are less clear
than I fist thought.
In a text from figaro international, Barbe Noire is constantly called
pirate, le plus redoutable pirate, but it seems that he started
out
Dear Benjamin and Markus
Le 14 janv. 09 à 10:49, Markus Lutz a écrit :
Miguel has told me something about different barring of French
eleven course lutes and later baroque lutes. So that might also be
a difference of sound. Maybe others can say something on that.
Unfortunately I also
I suppose to the three hypotheses, mentioned in my previous message,
I should add something about the apparent success of demi-filé,
probably around the same time that swannecks became popular.
There are arguments about whether the extension on swan-necked lutes
had pure gut or demifilé, or
.
Whether the lute will sound rich immediately is not known, but I
ought to discover it soon!
ed
At 04:44 AM 9/15/2009, Anthony Hind wrote:
Dear Ed
I had a look at what guitar sites said about Adirondack, and
it seems that the chief benefit of using Adirondak Spruce as a top
is its stiffness
water soluble salts react with fatty acids in the wood - I presume
this is also linked to salt loading outcomes.
In short, well worth a read if you're interested in the subject
Martyn
--- On Tue, 15/9/09, Anthony Hind anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject
be
found in the archives.
Martyn
PS I've just googled the book and amazingly see that the work has
been scanned by Google books so you can read it online..
--- On Wed, 16/9/09, Anthony Hind anthony.h...@noos.fr wrote:
From: Anthony Hind anthony.h...@noos.fr
Subject: Re: [BAROQUE
Dear Ed
I am so pleased to hear your lute is back, and so we will
soon be hearing more music, but even sweeter than on your excellent
Conradi CD, if that is possible.
I am interested to hear you mention the singing quality of your
lute. This is also what struck me about my 11c
Dear Arto
Congratulations on your new 11-course.
I am also new to the Baroque lute, but have had my 11c 70 cm Warwick
for just over a year, and have had time to gradually change some of my
stringing.
Unfortunately I just had a double computer failure, and I had lost much
Dear Arto
I found that varnished treble gut (which I think Sofracob may
be) was more scratchy than plain or oiled gut; but also some makes are
slightly rounder sounding (Baldock Cathedral, in particular) or
brighter than others. The bright ones tend to emphasize
Very nice David! Two of the pieces, the Allemande in d-moll, and the=
Courante in d-moll
are pieces I am actually working on at the moment; so I am very happy
to h= ave your interpretation.
Of course I do have the recording by Satoh, whi= ch I have listened to
at various speeds
Yes, I have been using a metronome, and intuitively thinking of the
ornaments as divisions, but I did not think of playing the ornaments by
themselves. I will definitely give that a go.
Yes, it is often quite difficult to play at half measure, a little like
slow motion walking, but
I will send that again, via my Yahoo mail. I don't understand why the
messages from one of my mail addresses gets garbled on the LSA list
with added signs, corresponding to the line spaces (and also has a sort
of ginger-bread man emblem appears); while the other has all its
Dear Arto
The recent France musique prog= ramme by Miguel Yisrael,
introduced me to the works of the Austrian Lauffen= steiner (same
period as Weiss). I don't believe I had heard any of his piec= es
before. Miguel's performance of one of his sonatas, is at the end of
thi= s
Oups, sorry, I have to send this from my other mail, or it becomes
garbled, not sure why.
Dear Arto
The recent France musique programme by Miguel Yisrael, introduced
me to the works of the Austrian Lauffensteiner (same period as Weiss).
I don't believe I had heard any of his
Dear Arto
The question might be what the characteristics are that you are
looking
for
in an 11-course baroque lute, and for what part of the 11c repertoire, and what
type of stringing you are hoping to use (particularly for the basses), low
tension:high tension, pure gut or
, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: [BAROQUE-LUTE] Re: Top luthiers of 11-courser?
To: baroque-lute@cs.dartmouth.edu
Date: Tuesday, 31 May, 2011, 14:04
Dear Arto
The question might be what
music'.
regards
Martyn
--- On Tue, 31/5/11, Anthony Hind agno3ph...@yahoo.com wrote:
From: Anthony Hind agno3ph...@yahoo.com
Subject: [BAROQUE-LUTE] Re: Top luthiers of 11-courser?
To: baroque-lute@cs.dartmouth.edu
Date: Tuesday, 31 May, 2011, 14:04
Dear Arto
My 70 cm Warwick works well at 392Hz. While going from 407Hz to 392Hz,
I wanted to raise the tension of the basses slightly, so I just shifted
them along one increment (C1 to D2 etc). However, I changed most of the
mid and top strings.
The basses were two years old, but still seem
For accompanying singers, also, the answer, unfortunately, is to have a number
of different sized lutes.
Anthony
- Mail original -
De : William Samson willsam...@yahoo.co.uk
À : Anthony Hind agno3ph...@yahoo.com; sterling price spiffys84...@yahoo.com
Cc : baroque-lute@cs.dartmouth.edu
- Mail original -
De : Martyn Hodgson hodgsonmar...@yahoo.co.uk
À : William Samson willsam...@yahoo.co.uk; baroque-lute@cs.dartmouth.edu
baroque-lute@cs.dartmouth.edu; Anthony Hind agno3ph...@yahoo.com
Cc :
Envoyé le : Mardi 29 Novembre 2011 12h58
Objet : [BAROQUE-LUTE] Re: A=392
Dear
__
De : Edward Martin e...@gamutstrings.com
A : Anthony Hind agno3ph...@yahoo.com;
baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu
Envoye le : Samedi 17 mars 2012 1h08
Objet : Re: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD
Dear Anthony and all,
I
Dear Mathias
Thanks for your explanations, yes I do understand your
feelings. I have a number of friends here in Paris, who prefer to play
Weiss (or similar) rather than French music, more or less for the
reasons you state.
Only the bare-bones seem to be encoded in the
ways of achieving a similar, but
hopefully slightly different, musical result, catering for personal
choices and taste.
Best regards
Anthony
__
De : Edward Martin e...@gamutstrings.com
AEUR : Anthony Hind
De : Martyn Hodgson hodgsonmar...@yahoo.co.uk
À : Anthony Hind agno3ph...@yahoo.com
Cc : baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu
Envoyé le : Mardi 20 mars 2012 15h06
Objet : Re: [BAROQUE-LUTE] Re: Pre-judgement (or wishful thinking) was Re: Ne
Anthony
-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
Auftrag von Arto Wikla
Gesendet: Samstag, 17. März 2012 19:15
An: Anthony Hind
Cc: Mathias Rösel; baroque-lute@cs.dartmouth.edu
Betreff: [BAROQUE-LUTE] Re: Ne Anthony Bailes CD
Dear Anthony, Mathias and the List
Some
Of course I failed to say that it was at the recent SFL meeting
Anthony
__
De : Anthony Hind agno3ph...@yahoo.com
A : baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu
Envoye le : Mercredi 4 avril 2012
Superb recording and performance, Ed;
wonderful to hear such sensitive playing of twin lutes strung in the same way
in gut by the same string and lute maker and recorded with such sympathy.
Please transmit my congratulations to the whole team involved in this
enterprise.
Regards
Anthony
Sent
Dear lutenists
Here is a link to a baroque lute and flute duet, recorded by
Didier Jarny and put on line by Pascale Bocquet and the SFL of a
Baroque concert held on the 14th of April 2013 at l'Arcades Institue de
Tours, the De Visee, Suite in G major with Anna Besson :
/
Anthony
__
From: Anthony Hind agno3ph...@yahoo.com;
To: baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu;
Subject: [BAROQUE-LUTE] Concerts of French Baroque lute music
Sent: Wed, Jan 29, 2014 10:16:38 PM
Dear lutenists
A copy of Miguel Yisrael's latest recording les rois de
versailles, signed by the lutenist, can now be ordered directly on his
web site at
[1]http://www.miguelyisrael.com/index.php/works/discography
It focusses on the lute music of two French composers,
Dear lutenists
The following message has been sent to me from leluthdore.com,
and which may interest fellow lutenists when they consult the luthdore
website
A Worldwide Lute Revival is Underway! Find out more on Tuesday, March
31 2015!
Facebook :
at the Luth Dore site, but I get no reaction no
matter what language I click!
Regards
Peter Van Dessel
Oud-Heverleestraat 35
3001 Leuven
On 16 Mar 2015, at 14:39, Anthony Hind wrote:
Dear lutenists
The following message has been sent to me from
[2]leluthdore.com
I click!
Regards
Peter Van Dessel
Oud-Heverleestraat 35
3001 Leuven
On 16 Mar 2015, at 14:39, Anthony Hind wrote:
Dear lutenists
The following message has been sent to me from
[2]leluthdore.com,
and which may interest fellow lutenists when they consult
l make a string out of anything and it would sound the same
if the bridge thinning were identical ..
regards
Martyn
__
From: Martin Shepherd <mar...@luteshop.co.uk>
To: Anthony Hind <agno3ph...@yahoo.
string out of anything and it would sound the same
if the bridge thinning were identical ..
regards
Martyn
__
From: Martin Shepherd <mar...@luteshop.co.uk>
To: Anthony Hind <agno3ph...@yahoo.com>
Hello Jaroslaw
I hope things are going well with you.
When you say of your Venice, "Yes, mine have split ends at the bridge."
Do you mean you have managed to separate the ends of the twine and pass
them separately through the bridge hole?
This is what Charles Besnainou
Having problems with my messages please ignore
[1]Sent from Yahoo Mail for iPhone
--
References
1. https://yho.com/footer0
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
from the bridge. In general this kind
of problem is characteristic for very stiff strings. Fortunately
Venices due to their rope construction are much more pliable, so there
is no problem with attaching them at the bridge.
Best wishes
Jaroslaw
> On 04 Feb 2017, at 00:20, An
g them at the bridge.
Best wishes
Jaroslaw
> On 04 Feb 2017, at 00:20, Anthony Hind <[2]agno3ph...@yahoo.com>
wrote:
>
> Hello Jaroslaw
>I hope things are going well with you.
> When you say of your Venice, "Yes, mine have split ends at the
bridg
Presumably FB was talking of dark diapasons and not bass courses
diapasons with their octaves? Modern wire wounds are very bright and
there is little need for strong octaves. Personally when using Venice
gut loaded that were quite flexible and dark, I moved to higher tension
Venice
otality of the string is what largely produces the
sound we hear - hence, for example, why loaded gut produces a more
satisfactory bass than plain gut.
regards
Martyn
______
From: Anthony Hind <[2]agno3ph
Personally I love the singing sustain of the ones I have on my lute
now, but for many lutenists the elasticity is difficult to deal with,
both in terms of how it calls for a change in playing technique, and
also how they tend to stick on the nut. However, I also loved my loaded
By thinning them at the bridge, Martin, I suppose this allows the
diapason to be "seen" (as it were) at the bridge as a thinish loaded
string. The effective resonating diameter being that passing through
the hole and the extra diameter beyond the bridge behaving similarly to
Very relevant comparison Rob, and I also notice that on my 11C lute,
the sustain of the new Aquila basses is almost identical to that of my
Venice octaves (which presumably would not be the case with the
Savarez. I imagine they would drone on longer if not stopped); but
again if I
Dear Baroque lutenists,
Benjamin Narvey's new recording "Psyché, The French Weiss", is
now available for preorder.
[1]Psyché
Psyché
(BUTTON)
You can support this recording here:
[indiegogo.png]
(BUTTON)
Best wishes
Anthony
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