[BAROQUE-LUTE] Re: The earliest d-minor tuning?

[Christopher Wilke]

Mathias,

--- On Tue, 4/27/10, Mathias Rösel mathias.roe...@t-online.de wrote:
 Roland Hayes rha...@legalaidbuffalo.org
 schrieb: 
 A) Except for the pieces by Gauthier in viel ton.  See
 list in LSA
 website, Prague IV g 18(?) etc. r
 
 What
 these pieces
 have in common are certain stylistic traits. That can be
 stated
 respectively about Ennemond's compositions as well. Would
 you say that
 the Gaultier pieces in Rettenwert share distinct stylistic
 features with
 Ennemond's pieces in D minor tunings?
 
 Mathias


I don't know these pieces, nor am I conversant enough with Ennemond's work to 
recognize his stylistic traits as distinct from his contemporaries.  Just to 
play devil's advocate, however, assuming the possibility that the pieces in old 
tuning could be early works of Ennemond, wouldn't one expect that they would 
differ on stylistic grounds?  Also, couldn't it be possible that these aspects 
of Ennemond's style developed precisely because of the latent possibilities of 
the new tuning?

I'm not arguing for or against anything here.  I'd be interested in hearing 
what Ennemond's traits are, though.

Chris 



 
 From: lute-...@cs.dartmouth.edu
 on behalf of Mathias Rösel
 Sent: Mon 4/26/2010 5:00 PM
 To: baroque-lute@cs.dartmouth.edu
 Subject: [BAROQUE-LUTE] Re: The earliest d-minor tuning?
 
 
 Benjamin Narvey luthi...@gmail.com
 schrieb:
     In fact, the d-minor tuning (what came to
 be known as the accord
     ordinaire) was around earlier. 
 Thomas Mace writes in 1676 that the
     d-minor tuning, which although it be (to
 my knowledge) at least 40
     years old; yet it goes under the name of
 the new tuning [accord
     nouveau] still.  (Mace, Musick's
 Monument, p. 191; emphasis mine).  If
     we take Mace at his word, this would
 place the development of the
     d-minor tuning at a date no later than
 1636, but probably earlier.
 
 Yes, of course, no argument here. Let me put it this way:
 Ennemond
 Gaultier and his cousin are credited with asserting the D
 minor tuning.
 When and why did Ennemond swing?
 
 In 1631 appeared Pierre Ballard's earliest surviving print
 with accords
 nouveaux (another p rint was previously published in 1623,
 but it
 hasn't
 made it to us) which contains music by Robert Ballard,
 Jacques de
 Belleville, Nicolas Bouvier, François de Chancy, François
 Dufaut,
 Estienne Houselot aka Dubuisson, René Mesangeau, et al.
 
 Robert Ballard was lutenist to the queen mother as from
 1612. Jacques
 de
 Belleville was lutenist to king Louis XIII. François de
 Chancy was
 musician / lutenist to the cardinals Richelieu and Mazarin,
 and later
 to
 the royal chamber. Dubuisson was lutenist to the duchess
 d'Angoulême,
 whose mother had previously employed Ennemond Gaultier as
 page. René
 Mesangeau was appointed lutenist to the king in 1621.
 
 Music by Bouvier and Mesangeau was published by Pierre
 Ballard in 1631
 as well as in 1638. Of these two, Bouvier made use of the D
 minor
 tuning
 in 1638. Mesangeau did not use the D minor tuning at all
 (the sarabande
 in Barbe, p. 8 is by Ennemond Gaultier). The only other
 composer in the
 1638 print to use the D minor tuning w as Pierre Dubut le
 père.
 
 Ennemond Gaultier was appointed lutenist to queen mother
 Maria de
 Medici
 in 1620, working on this post for eleven years until he
 retired in
 1631.
 He definitely belonged to the inner circles where everybody
 would use
 those so called transitional tunings. Except E. Gaultier
 himself. Or so
 one might conclude from the fact that not even one piece by
 him in a
 transitional tuning has survived (Old Gaultier's
 Nightingale is in
 flat tuning, but IMHO for stylistic reasons not by
 Gaultier).
 
 Perhaps there are three possible explanations.
 A) Vieux Gaultier used the D minor tuning for all of his
 life,
 exclusively. That's why no pieces in other tunings than D
 minor have
 survived. One may safely argue that the D minor tuning was
 in
 Gaultier's
 use as early as 1595.
 B) Gaultier played transitional tunings first, and adopted
 the new D
 minor tunings later, when it was spread by Bouvier and
 Dubut le père
 during the 1630ies. After his conversion, Gau ltier was so
 embarrassed
 about his dark past that he burned all of his ealier
 pieces.
 C) Like Dufaut et al, Gaultier made use of transitional as
 well as D
 minor tunings side by side, depending on how well the
 respective tuning
 suited his purposes. Only later, he and his cousin Denis
 were
 mistakenly
 credited with asserting the D minor tuning. That's why many
 of
 Ennemond's earlier pieces in transitional tunings haven't
 been
 acknowledged as yet.
 
 Mathias
 
 
 
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[BAROQUE-LUTE] Re: d-minor theorbo specs

[Christopher Wilke]

David,

I had a conversation with Stephen Stubbs the other night (us having a great 
deal in common by virtue of our both having owned theorbos with fingerboard 
lengths close to 100cm, but a great deal less in common by virtue of our 
respective abilities on said theorbos) and the subject of the d minor theorbo 
came up.  Stephen claims that there is a wide spread misconception about the 
tuning.  He says that it is not a baroque lute without the first course, but 
rather a d-minor lute with the first string down the octave (reentrant).

The first six courses would therefore be:
f - d' - a - f - d - A

I don't know about Stephen's historical evidence is for this, but I admit that 
it does conform to Baron's statement that the German lutenists did this so that 
they could use the exact same chord shapes they knew from their regular lutes.  
At the very least, it would no doubt make life a little easier for the modern 
lutenist who already does continuo on a d-minor lute.


Chris 


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Sun, 7/4/10, David van Ooijen davidvanooi...@gmail.com wrote:

 From: David van Ooijen davidvanooi...@gmail.com
 Subject: [BAROQUE-LUTE] d-minor theorbo specs
 To: lutelist Net l...@cs.dartmouth.edu, Baroque Lute List (E-mail) 
 baroque-lute@cs.dartmouth.edu
 Date: Sunday, July 4, 2010, 3:51 AM
 The definition of a lute player is an
 instrumentalist who's always one
 instrument short. For me, the current missing instrument is
 a d-minor
 theorbo.
 What should be the specs? I know there a few of you playing
 such
 beasts (Benjamin?).
 I'm looking for enough chromatics in the bass to play Bach
 continuo
 without too many compromises, St John Passion obligato part
 as
 written. Large enough for gut basses on the fretboard,
 small enough
 for highest course d'.
 
 First proposition
 on the fingerboard: d' - a - f - d - A - G - F
 diapassons: E - Eb - D - C - B - A - G
 
 Single or double strings?
 Model?
 Historical examples?
 Anyone with experience?
 
 David - where to find the money ...
 
 
 -- 
 ***
 David van Ooijen
 davidvanooi...@gmail.com
 www.davidvanooijen.nl
 ***
 
 
 
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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 


  

[BAROQUE-LUTE] Re: E Major Concerto

[Christopher Wilke]

Bernd,


Vielen dank!  E major and lots of other stuff, too.  You rock.  


Chris



Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Thu, 7/8/10, Bernd Haegemann b...@symbol4.de wrote:

 From: Bernd Haegemann b...@symbol4.de
 Subject: [BAROQUE-LUTE] Re: E Major Concerto
 To: baroque Lutelist baroque-lute@cs.dartmouth.edu, sterling price 
 spiffys84...@yahoo.com
 Date: Thursday, July 8, 2010, 4:32 AM
 http://dl.free.fr/mCcqqQPlB
 
 
 1 zip containing 14 pdf files
 
 ca. 217 MB
 
 Page is in French, 
 this
 
 http://www.lute-academy.be/docstore/freedl.jpg
 
 
 will guide you to click int the right place.
 
 
 
 _
 
 Kohaut, Karl
 
 Chamber Music
 _
 
 Concerti Divertimenti
 Trios
 Sonata with Viola obligata
 
 :::
 
 
 Enjoy :-)
 Would love to listen to more of the stuff
 
 
 best regards
 Bernd
 
 
 
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[BAROQUE-LUTE] Re: Odp: Hans Neeman Photo

[Christopher Wilke]

Sorry, no pictures, but I also made something for my theorbo last year.  In 
terms of practicality, I see nothing wrong with things like this.  Not 
possessing any woodworking skills at all, my solution was low-tech in the 
extreme: I took half a wooden clothes pin and glued it to part of a paint 
stirrer.  I then glued some rubber shelf-liner (the stuff that many people use 
on their laps to keep their instruments from slipping) to the bottom to keep it 
in place.  Then I marked the right spot on the neck extension with a light 
pencil stroke and just stuck it under the strings.  Then I colored it with a 
black marker to make it look all fancy-schmancy.

Necessity was the mother of invention: I came up with it because of a live 
radio broadcast I was doing that involved and a change from an F to F# bass.  I 
figured that re-tuning would be rather tedious for the audience.  I've since 
used the device for performances, too.  It worked really well for a set that I 
did with a singer in which dramatic continuity was important.

Chris 


  
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Fri, 10/8/10, wikla wi...@cs.helsinki.fi wrote:

 From: wikla wi...@cs.helsinki.fi
 Subject: [BAROQUE-LUTE] Re: Odp: Hans Neeman Photo
 To: Grzegorz Joachimiak gjoachim...@wp.pl
 Cc: sterling price spiffys84...@yahoo.com, BAROQUE-LUTE 
 baroque-lute@cs.dartmouth.edu
 Date: Friday, October 8, 2010, 4:04 PM
 Dear friends,
 
 now there has been so much talk about photos/pictures of
 some system of
 easy chromatic basses and not a single link to any public
 photo/picture.
 Even when I am _not at all_ interested in using any
 mechanism for that, I
 am utterly interested in seeing, what you are talking
 about... ;-)
 
 So: jpg's, pdf's, ..., whatsoever, please!  :-)
 
 Arto
 
 
 On Fri, 08 Oct 2010 21:46:13 +0200, Grzegorz Joachimiak
 gjoachim...@wp.pl
 wrote:
  Dear friends,
  
  this photo surely is in JLSA (1979) vol. 12: The
 Resurrection of the 
  Lute in Twentieth Century Germeny by Kurt Rottmann,
 pp. 67-72. I have 
  this article. Let me know who needs this text I would
 send to private 
  e-mail box.
  
  Grzegorz
  
  
  Dnia 8-10-2010 o godz. 19:11 sterling price
 napisał(a):
  Well I found the photo of Hans Neeman and his
 semi-tone device. I
  scanned it so
  if anyone wants to see it let me know. Still not
 sure where I copied it
  from...
  
  Sterling
  
  
  
  - Original Message 
  From: sterling price spiffys84...@yahoo.com
  To: baroque-lute@cs.dartmouth.edu
  Sent: Fri, October 8, 2010 8:07:20 AM
  Subject: [BAROQUE-LUTE] Re: New Semi-Tone Device
  
  Some more info about the semi tone device.
  The base is made of maple stained black. The nut
 is lignum vitae as well
  a the
  smaller nut which actually raises or 'frets' the
 course.
  Hide glue is used.
  Also I am looking for the photo I have of Hans
 Neeman. I think it was
  from an
  old LSA quarterly or journal. Does anyone know
 which one?
  Sterling
  
  
  
  - Original Message 
  From: sterling price spiffys84...@yahoo.com
  To: baroque-lute@cs.dartmouth.edu
  Sent: Fri, October 8, 2010 5:30:25 AM
  Subject: [BAROQUE-LUTE] New Semi-Tone Device
  
  Dear all--
  
  I have just created a new semi-tone device for a
 Jauck type baroque
  lute. This
  allows me to change the pitch of bass strings by a
 half step without
  tuning. I
  can go from say e-flat minor to A-major in just a
 few seconds with
  complete
  stability.
  
     A similar semi-tone device is seen on the
 1732 lute by J.H.
  Goldt,(formerly
  in the VA) of course I don't know when it
 was added. Also Hans Neeman
  and his
  associates used semi-tone devices on all their
 baroque lutes including
  bass
  rider lutes in the 1930s. (This I know from a
 photograph of Neeman and
  his
  lutes).
     If anyone is interested I can send pics of
 my new device.
  
  Sterling
  
  
       
  
  
  
  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: Galant definition

[Christopher Wilke]

Are you speaking of Affekt?  Mattheson goes into great detail about the moods 
associated with each key, but I don't believe that this is really more a part 
of the baroque aesthetic and not typical of the gallant style.  
There is the famous story about how Baron was made to look foolish for 
believing in the then somewhat unfashionable (and un-gallant) idea of music's 
power to excite the passions directly.   

Chris


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Fri, 10/22/10, G. Crona kalei...@gmail.com wrote:

 From: G. Crona kalei...@gmail.com
 Subject: [BAROQUE-LUTE] Re: Galant definition
 To: baroque-lute@cs.dartmouth.edu
 Date: Friday, October 22, 2010, 10:27 AM
 Pls. correct me if I'm wrong, but
 doesn't Gallant also imply mood related to keys, i.e.
 direct influence on the listeners mood with the music, like
 f. ex. indian music claims to do? (The correct term eludes
 me, I really should read Farstads book! :)
 
 G.
 - Original Message - From: Christopher Wilke
 chriswi...@yahoo.com
 To: baroque-lute@cs.dartmouth.edu;
 G. Crona kalei...@gmail.com
 Sent: Friday, October 22, 2010 4:16 PM
 Subject: [BAROQUE-LUTE] Re: Galant definition
 
 
  Farstad's book is the best source for this music in
 reference to the lute. It includes exhaustive lists of
 composers, pieces and sources.  More generally, there
 is Gjerdingen's book: 
 http://www.amazon.com/Music-Galant-Style-Robert-Gjerdingen/dp/0195313712
 I've read this book, but it is not particularly clarifying
 in terms of defining what gallant actually is.  He
 describes a lot of processes, but there is little feeling
 that they add up in the end to a style.
  
  This is still a grey area.  I don't particularly
 like gallant as a musical term because it is so
 general.  In contemporary usage, it clearly had more to
 do with one's general habits and lifestyle than musical
 characteristics.  Thus, Baron calls Weiss the best,
 most gallant composer. I think most of us would agree that
 Hagen is also a gallant composer. Would we really say Weiss
 and Hagen are writing in the same style?  Would we even
 say that Straube's two lute sonatas and his English guittar
 pieces are in the same style?
  
  There is a real mixture of approaches going on from
 around c.1740's (and earlier) up to the classical period:
 high, contrapuntal baroque a la Papa Bach, a sort of easy
 baroque a la Scarlatti, a more overtly operatic form a la
 Hasse, and empfindsamer stil a la C.P.E Bach.  All of
 these things were claimed to be gallant and one finds all
 of these styles happening simultaneously.  I suspect
 that when people say gallant nowadays, they really mean
 the Hasse incarnation, with a florid, vocal-like line over
 an accompaniment that is of secondary importance, usually
 comprised of slow-moving harmonies and stock
 figurations.  Lot's of triplets and Lombard rhythms!
  
  This is a tough nut to crack which has gotten too
 little scholarly attention.  I think more people are
 becoming interesting in the era, but there is still a lot to
 be done.
  
  Chris
  
  Christopher Wilke
  Lutenist, Guitarist and Composer
  www.christopherwilke.com
  
  
  --- On Fri, 10/22/10, G. Crona kalei...@gmail.com
 wrote:
  
  From: G. Crona kalei...@gmail.com
  Subject: [BAROQUE-LUTE] Re: Galant definition
  To: baroque-lute@cs.dartmouth.edu
  Date: Friday, October 22, 2010, 9:31 AM
  I believe the standard work to be:
  
  http://openlibrary.org/works/OL7827880W/German_galant_lute_music_in_the_18th_century
  
  haven't read it myself unfortunately...
  
  G.
  
  - Original Message - From: theoj89...@aol.com
  To: baroque-lute@cs.dartmouth.edu
  Sent: Friday, October 22, 2010 3:23 PM
  Subject: [BAROQUE-LUTE] Galant definition
  
  
  
  
   Could anyone help me understand the
 definition of
  'Galant' music?
   Does it refer only to lute music, or to the
  period/style.
   What are its characteristics - if they can be
 summed
  up?
   Which composers would be considered most
 typical of
  Galant style?
   Thanks for helping a enthusiastic beginner
 further
  appreciate such a great
   literature.
   trj 
 
 
 
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[BAROQUE-LUTE] Re: Galant definition

[Christopher Wilke]

Yes, there is definitely something to it and it has always been part of music 
history.  The ancient Greeks believed that the various modes could incite 
anger, lust, insanity, etc.  In the renaissance, Bernardino Cirillo called upon 
composers to set aside the cantus firmus and write Masses in using similar 
methods as the ancient Greeks to incite piety, supplication, praise, etc.  (The 
modes he knew were not the same as the Greeks', however!)

I see Empfindsamkeit as a sort of hyper-extension of the baroque doctrine of 
the affections.  It really uses super-affectation, with moods changing 
unexpectedly almost violent contrasts every other moment.  Thus, confident, 
martial music might suddenly dissolve into a section featuring the most tender 
lyricism and then explode into mood of a frenetic nervousness.  This is really 
what's meant by calling the music sensitive - quite the opposite of an overly 
precious manner.  Unfortunately, few performers go out on a limb and play this 
repertoire with correctly exaggerated interpretation nowadays.  For me, though, 
it represents virtuosity of total control.

Chris




Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Sat, 10/23/10, G. Crona kalei...@gmail.com wrote:

 From: G. Crona kalei...@gmail.com
 Subject: [BAROQUE-LUTE] Re: Galant definition
 To: baroque-lute@cs.dartmouth.edu
 Date: Saturday, October 23, 2010, 4:34 AM
 PS. At the same time I have to say
 that extreme cases of use of Minor - Mayor can definitely
 trigger feelings of sadnes and joy respectively in me, so
 there has to be something in the Affekt theory...
 
 G.
 - Original Message - From: Christopher Wilke
 chriswi...@yahoo.com
 To: baroque-lute@cs.dartmouth.edu;
 G. Crona kalei...@gmail.com
 Sent: Saturday, October 23, 2010 3:30 AM
 Subject: [BAROQUE-LUTE] Re: Galant definition
 
 
  Are you speaking of Affekt?  Mattheson goes into
 great detail about the moods associated with each key, but I
 don't believe that this is really more a part of the baroque
 aesthetic and not typical of the gallant style.
  There is the famous story about how Baron was made to
 look foolish for believing in the then somewhat
 unfashionable (and un-gallant) idea of music's power to
 excite the passions directly.
  
  Chris 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 


  

[BAROQUE-LUTE] Re: Wenzel von Radolt

[Christopher Wilke]

Bernd,

Thanks for the link.  And thanks very much to Martyn for writing the 
article.  Very interesting and informative stuff.  I wonder why Radolt has 
received so little attention.

On one point, though, I can't agree with Martyn: von Radolt's music is not 
of negligible musical worth.  I won't argue that it is the deepest stuff, but 
it is pleasant to listen to and there are some surprises to keep you 
interested.  Overall, I would recommend the recording that Ed mentioned by Ars 
Antiqua Austria although I find the violin to be a bit too forward in the 
recorded mix.  They definitely did not follow Radolt's explicit instruction 
that the soprano part that is the small lute must at all times be set 
strongly and tripled in volume in relation to the other parts. (I suppose they 
were after an overall composite sound.)

Actually, I know very little about this recording.  I bought it on iTunes 
about a year ago and there is no booklet (shame on them!).  I could hear that 
there was more than one lute on there, but the performers' names are not even 
listed online.  How hard is it to include a digital booklet, people?

Chris



Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Sun, 11/7/10, Bernd Haegemann b...@symbol4.de wrote:

 From: Bernd Haegemann b...@symbol4.de
 Subject: [BAROQUE-LUTE] Re: Wenzel von Radolt
 To: baroque-lute@cs.dartmouth.edu, Edward Martin e...@gamutstrings.com, 
 Martyn Hodgson hodgsonmar...@yahoo.co.uk
 Date: Sunday, November 7, 2010, 4:40 AM
 
    See my paper in FoMRHI Quarterly No
 44 July 1986 C-737 :  'Von Radolt's
    instructions to lute players (Wien
 1701)'
  
    This gives a translation of the
 instructions and a commentary on the
    lute sizes/pitches required.
 
 
 
 
 see
 
 http://www.fomrhi.org/uploads/bulletins/Fomrhi-044.pdf
 
 
 B
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 


  

[BAROQUE-LUTE] Re: Wenzel von Radolt

[Christopher Wilke]

I think with one exception, all of Hagen's Sonatas for Lute, Violin and Basso 
call for muted violin.

Also the Kohaut D major Divertimento.  This one has no violin part, only a 
muted viola with cello.  It seems strange to me to mute the viola.  I've heard 
it in combination with modern guitar and it seems a pretty good match, even 
senza sordino.  (A better partner for guitar than violin.)  Then again, while 
I've worked with violas in orchestral settings, I've never played with a viola 
soloist.  Perhaps with gut strings on a historical instrument, there is some 
roughness of tone that the mute would help smooth out?

Chris

 
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Mon, 11/8/10, Dale Young dyoung5...@wowway.com wrote:

 From: Dale Young dyoung5...@wowway.com
 Subject: [BAROQUE-LUTE] Re: Wenzel von Radolt
 To: baroque-lute@cs.dartmouth.edu, Stephan Olbertz stephan.olbe...@web.de
 Date: Monday, November 8, 2010, 9:43 PM
 Kohaut requested sordini for middle
 movements and the entire Divertimento in 
 Bb, one of two printed examples of lute ensembles with
 violin. ( I can't 
 remember if Ph. Martino suggested sordini or not for his
 fiddle trios) Many 
 have suggested that violins were quieter and/or players
 were accustomed to 
 quieter playing before the wholesale adoption of the east 
 european/klesmer/gypsy/ schmaltz school of VIOLIN PLAYING.
 Oy. (Or 
 Paganininininini.)   The sordini were more a
 change of timbre than a volume 
 control (i think).
 - Original Message - 
 From: Stephan Olbertz stephan.olbe...@web.de
 To: baroque-lute@cs.dartmouth.edu
 Sent: Monday, November 08, 2010 4:31 PM
 Subject: [BAROQUE-LUTE] Re: Wenzel von Radolt
 
 
  Am 08.11.2010, 15:05 Uhr, schrieb Christopher Wilke 
  chriswi...@yahoo.com:
 
  It was, however, also common practice for the
 bowed strings to use mutes
  when playing with lutes
 
  Interesting. I only know the Hagen Duet for Violin and
 Lute with obligato
  mute, what else do we have?
 
  Regards, Stephan
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  and I think this recording
  would have benefited from doing so.  Gunar
 Letzbor mentions that playing
  with lutes was a new experience for the group, so
 my hats off to them
  for tackling this music in the first place and
 doing such a good job of
  it.
 
  Chris
 
 
 
 
 
  The liner notes reveal some interesting
 facts...
  apparently, the
  parts were scattered in various areas, making
 great
  difficulty in
  assembling the concertos. All parts were then
  together, with the
  exception of the first violin part in the
 concertos.
  One of the
  lutenists in the project, Hubert Hoffman,
 started writing
  the missing
  violin parts, and after near completion of the
 work,
  somebody found
  it the missing part!! Yesterday I had a
 conversation
  with an old
  friend, Doug Towne. In discussing this, he
 laughed,
  stating, They
  should have asked me... I've had it since the
 late 70's.
 
  The lutenists involved in the recording are
 Hubert Hoffman,
  Sven
  Schwannberger, and Klaus Kob. I have never
 heard of
  any of these
  performers, but they certainly performed these
 works well.
 
  ed
 
 
 
 
 
 
  At 08:41 AM 11/7/2010, Christopher Wilke
 wrote:
  Bernd,
  
   Thanks for the link. And
  thanks very much to Martyn for
   writing the article. Very interesting
 and
  informative stuff. I
   wonder why Radolt has received so little
 attention.
  
   On one point, though, I can't
  agree with Martyn: von Radolt's
   music is not of negligible musical
 worth. I
  won't argue that it
   is the deepest stuff, but it is pleasant
 to listen to
  and there are
   some surprises to keep you interested.
 Overall,
  I would recommend
   the recording that Ed mentioned by Ars
 Antiqua Austria
  although I
   find the violin to be a bit too forward
 in the
  recorded mix. They
   definitely did not follow Radolt's
 explicit
  instruction that the
   soprano part that is the small lute must
 at all times
  be set
   strongly and tripled in volume in
 relation to the
  other parts. (I
   suppose they were after an overall
 composite
  sound.)
  
   Actually, I know very little
  about this recording. I bought it
   on iTunes about a year ago and there is
 no booklet
  (shame on
   them!). I could hear that there was more
 than
  one lute on there,
   but the performers' names are not even
 listed
  online. How hard is
   it to include a digital booklet, people?
  
  Chris
  
  
  
  Christopher Wilke
  Lutenist, Guitarist and Composer
  www.christopherwilke.com
  
  
  --- On Sun, 11/7/10, Bernd Haegemann
 b...@symbol4.de
  wrote:
  
From: Bernd Haegemann b...@symbol4.de
Subject: [BAROQUE-LUTE] Re: Wenzel
 von Radolt
To: baroque-lute@cs.dartmouth.edu,
  Edward Martin
   e...@gamutstrings.com,
  Martyn Hodgson hodgsonmar...@yahoo.co.uk
Date: Sunday, November 7, 2010, 4:40
 AM
   
 See my paper in FoMRHI
  Quarterly No
44 July 1986 C-737 : 'Von Radolt's

[BAROQUE-LUTE] Rohrau text

[Christopher Wilke]

Hello all,

Is there anyone who has the Rohrau/Harrach Weiss manuscript from the 
Deutsche Lautengesellschaft who would be willing to scan the text commentary by 
Legl, Lutz and Freimuth for me?  (OK if its in German).  I'm doing a research 
project for school and this information will help me to determine if I need to 
look at the manuscript.  I plan on purchasing it eventually, but its a bit too 
rich for me while I'm in school.  (...and I can't get my hands on it through 
the library yet.)

Thanks,

Chris


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com



  



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[BAROQUE-LUTE] Re: Rohrau text

[Christopher Wilke]

Alles,

Vorwort received.  Thanks for the replies!

Chris


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Sat, 1/15/11, Christopher Wilke chriswi...@yahoo.com wrote:

 From: Christopher Wilke chriswi...@yahoo.com
 Subject: [BAROQUE-LUTE] Rohrau text
 To: baroque-lute@cs.dartmouth.edu
 Date: Saturday, January 15, 2011, 12:39 PM
 Hello all,
 
     Is there anyone who has the Rohrau/Harrach
 Weiss manuscript from the Deutsche Lautengesellschaft who
 would be willing to scan the text commentary by Legl, Lutz
 and Freimuth for me?  (OK if its in German).  I'm
 doing a research project for school and this information
 will help me to determine if I need to look at the
 manuscript.  I plan on purchasing it eventually, but
 its a bit too rich for me while I'm in school.  (...and
 I can't get my hands on it through the library yet.)
 
 Thanks,
 
 Chris
 
 
 Christopher Wilke
 Lutenist, Guitarist and Composer
 www.christopherwilke.com
 
 
 
       
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 


  

[BAROQUE-LUTE] L'Amant unique?

[Christopher Wilke]

Hi all,

I've been playing through some pieces by Gallot lately and noticed that his 
famous L'Amant Malheuruex allemande intentionally does not use either of the 
top two courses.  I know of lots of pieces sans chanterelle, but can't think of 
any other piece that dispenses with the second course as well.  Has anyone else 
run across anything?  Maybe even an anonymous piece?

Chris 


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com



  



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[BAROQUE-LUTE] Re: L'Amant unique?

[Christopher Wilke]

Bernd,

Thanks for pointing it out.  Quite right.  I knew of the Reusner piece but 
had forgotten about it.  More likely my brain just didn't make the association 
since R pulled a one-up to the double sans idea.

Chris

Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Fri, 1/21/11, Bernd Haegemann b...@symbol4.de wrote:

 From: Bernd Haegemann b...@symbol4.de
 Subject: [BAROQUE-LUTE] Re: L'Amant unique?
 To: baroque Lutelist baroque-lute@cs.dartmouth.edu, Christopher Wilke 
 chriswi...@yahoo.com
 Cc: lute list l...@cs.dartmouth.edu
 Date: Friday, January 21, 2011, 11:47 AM
 sans chanterelle, but can't think
 of any other piece that dispenses with the second course
 as well.
 
 The las piece in Reusner's Erfreuliche  Lauten -Lust
 (1667) is a
 
 Courante sine quintâ, quartâ et tertiâ
 
 
 Quinta is the highest string, if I remenber it correctly,
 as in German Quintsait or so...
 So there you have a piece without the top 3 ch.
 
 best wishes
 
 Bernd
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 


  

[BAROQUE-LUTE] Re: L'Amant unique?

[Christopher Wilke]

Benjamin,

--- On Fri, 1/21/11, Benjamin Narvey luthi...@gmail.com wrote:

    There are the following wonderful pieces
 without BOTH top strings in MS
    Saizenay (pp. 115-6):
    Allemande sans chanterelle ni seconde
    Courante sans chanterelle ni seconde


Wow, right under my nose!  I was playing the Gallot allemande from the Saizenay 
version(s) (it appears twice).

    It goes without saying that this
 repertoire works perfectly on a
    d-minor theorbo

Undoubtedly the instrument for which these pieces were intended.  ;-)

Thanks,
Chris



    Best,
    Benjamin
 
    On 21 January 2011 18:14, wikla [1]wi...@cs.helsinki.fi
 wrote:
 
      Hi Chris,
      in ms. Barbe La Grenoueillere de
 Gallot, p. 38, and Rossignol du
      V.Gautier,
      p. 63.
      I think I've seen others, too.
 I'll tell, when I find them again.
      Arto
 
    On Fri, 21 Jan 2011 08:05:11 -0800 (PST),
 Christopher Wilke
    [2]chriswi...@yahoo.com
 wrote:
     Hi all,
    
     I've been
 playing through some pieces by Gallot lately and
    noticed
    that
     his famous
 L'Amant Malheuruex allemande intentionally does not
    use
 
   
    either of the top two courses.  I
 know of lots of pieces sans
 
     chanterelle,
 but can't think of any other piece that dispenses
    with
    the
 
     second
 course as well.  Has anyone else run across anything?
    Maybe
     even an
 anonymous piece?
    
     Chris
    
    
     Christopher Wilke
     Lutenist, Guitarist and Composer
     [3]www.christopherwilke.com
    
    
    
    
    
    
    
 
     To get on or off this list see list
 information at
     [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
    --
    Dr Benjamin A. Narvey
    Institute of Musical Research
    School of Advanced Study
    University of London
    t +33 (0) 1 44 27 03 44
    p/m +33 (0) 6 71 79 98 98
    Site web/Website: [5]www.luthiste.com
    --
 
 References
 
    1. mailto:wi...@cs.helsinki.fi
    2. mailto:chriswi...@yahoo.com
    3. http://www.christopherwilke.com/
    4. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
    5. http://www.luthiste.com/
 
 


  



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[BAROQUE-LUTE] Re: Ms. Lei. II 6 14 ?

[Christopher Wilke]

Arthur,

--- On Fri, 3/4/11, A.  J. Ness arthurjn...@verizon.net wrote:
 By the way, did you notice that the Lachrimae motive is sounded in tghe
 lower line at the
 beginnig of Gallot's L'Amat malheureux  (No. 98)?  Weiss also made an
 arrangement of that piece.

 It just so happens that in a few hours I'll be giving my doctoral lecture 
recital at Eastman.  The topic is Weiss's use of timbre and I discuss these 
versions in my presentation.

 I think this amply demonstrates why Arto is calling for more uniformity in 
naming as well as connecting names with catalog numbers.  There is the version 
of L'Amant Malheureux in London with the number LbmI, which is easy enough to 
find.  

 But then there is the version in g minor in PnVmc61.  This is the 
so-called Paris manuscript.  Not just the Paris manuscript, the Paris 
Thibault manuscript.  Not just the Paris Thibault manuscript, ONE of the Paris 
Thibault manuscripts.  I can't recall which volume number off the top of my 
head even though I've recently researched it.  This number is of course not 
connected with its current catalog number.

There are also the two versions (allemande en double and gigue) in ROI.  
The Deutsche Lautengelsellschaft recently published this as the Rohrau 
manuscript, but in English we're apparently calling it Harrach I and II.  Tim 
Crawford has an excellent discussion of this source in a recent LSA Journal.  
This is not to be confused (but undoubtedly will be by some) with the already 
known Harrach manuscript in New York.

Chris

Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


  



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[BAROQUE-LUTE] Re: PS to: Jacques de Saint-Luc

[Christopher Wilke]

Ed,

--- On Wed, 3/23/11, Edward Martin e...@gamutstrings.com wrote:

 Dufaut and Mouton both played in 'Austria' and were far
 greater composers
 and, probably, players. I suspect that J Gallot in his
 'long journey abroad'
 (see the intro to the Gallot edition) also visited Vienna.
 As far as I know
 St Luc caused a stir at a wedding in Berlin in 1700, and
 there are one or
 two other references, but nothing to suggest he was as
 highly-respected as
 any of these three.
 

St. Luc was very highly regarded and presumably influential.  Baron doesn't 
have much good to say about Franco composers with the singular exception of St. 
Luc.  In fact, he specifically denigrates the other three you mention.  In 
'Study of the Lute' of 1727, Baron says,

In regard to the lute, the French have not accomplished much in particular... 
Mouton and Dufaut followed their own genius and neglected the cantabile 
element.  Gallot gave his pieces such strange names that one must ponder hard 
how they connect with the music...

Saint-Luc [before which translator Douglas Alton Smith has editorially 
inserted the first name 'Jacques de' in brackets] is one of the best, for he 
always allows something lyrical to flow into his pieces...

Douglas Alton Smith includes a quote from Herr von Besser about the wedding 
in 1700 in a footnote:
And because it just then happened that the splendid French theorbist and 
lutenist Monsieur de St. Luc was passing through Berlin on his way to Vienna, 
he was detained here until the nuptials to increase the forces of the sinfonie 
with the well-known artists in our service - Ricks, Attilio, Volumnier and 
others. 

Saint-Luc obviously had quite the reputation in Germanic lands.  No doubt this 
is due to his emphasis on an easily identifiable primary melodic line in lieu 
of the brise texture of his predecessors.  Was he so highly regarded among the 
Germans simply because they didn't really understand what the other French guys 
were about?  Or is he a neglected master waiting for a modern interpreter to 
really get him?  I haven't played much of his music but personally, I'm not 
ready to jump to any conclusions about his skills as a composer or how they 
compare to the other Franco lute composers.

Chris


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com



  



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[BAROQUE-LUTE] Re: modern lute(?) music, anecdotal

[Christopher Wilke]

David,

--- On Sun, 5/29/11, David van Ooijen davidvanooi...@gmail.com wrote:

 I should add
 that, not for
 the first time, however uncomfortable my part felt on a
 theorbo, it
 would have fitted a guitar surprisingly well.

Wow, a modern composer who actually wrote an idiomatic guitar part.  That's a 
first in itself!  (The composer is a guitarist, I suppose?)

Chris



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[BAROQUE-LUTE] Re: Weiss for 11c

[Christopher Wilke]

Thomas,

I guess you mean by the newly discovered manuscript the Rohrau, AKA 
Harrach.  Most of it is for 11-course lute, but it's a mixed bag and some 
movements that would be hard to play on only 11.  Some sonatas are pastiches 
of movements that were probably not intended to be played together.  The 
L'Amant Malheureux sonata is a good example.  The first two movements are for 
11-course lute, but the courant and fantasie need 13.  The last movement (which 
is a gigue version of the allemande) is back to 11 courses.  Two movements are 
based on Gallot's allemande; the rest have no particular relation to it.

Chris
 
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Tue, 7/26/11, Thomas Schall lauten...@lautenist.de wrote:

 From: Thomas Schall lauten...@lautenist.de
 Subject: [BAROQUE-LUTE] Re: Weiss for 11c
 To: Bernd Haegemann b...@symbol4.de
 Cc: Christopher Pearcy c.pear...@uni.brighton.ac.uk, 
 baroque-lute@cs.dartmouth.edu
 Date: Tuesday, July 26, 2011, 3:33 PM
    yes we are - the
 few 5 and 6 can be easily substituded.
 
    The newly discovered MS is 11-course,
 too.
    best wishes
 
    Thomas
 
    Am Dienstag, 26. Juli 2011, 21.24:22
 schrieb Bernd Haegemann:
 
      the entire Paris MS is for the
 11-course lute. Charming stuff BTW
 
      Best wishes
 
    
 
     .. there are some 5s and 6s
 lurking though...
 
    
 
     (we are talking about the Weiss `a
 Rome ms, aren't we?)
 
    
 
     best regards
 
     Bernd
 
    
 
      Thomas
 
     
 
      Am Dienstag, 26. Juli 2011,
 18.06:44 schrieb Christopher Pearcy:
 
       Dear List
 
      
 
       As some-one who plays
 exclusively the French repertory, I'm now
 
     
 
      looking
 
     
 
       to explore Weiss a little.
 Can anyone let me know what the best
 
     
 
      primary
 
     
 
       sources for his 11c music
 are? I suspect that the London ms is
 
     
 
      probably
 
     
 
       one - but how much of it
 is for 11c lute?
 
      
 
       Best wishes
 
      
 
       Chris Pearcy
 
      
 
      
 
      
 
       --
 
      
 
      
 
      
 
      
 
      
 
       To get on or off this list
 see list information at
 
      
 
       http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
     
 
      --
 
     
 
      Thomas Schall
 
     
 
      Doerflistrasse 2
 
     
 
      CH-6078 Lungern
 
     
 
      +41 41 678 00 79
 
     
 
      lauten...@lautenist.de
 
      --
 
    --
 
    Thomas Schall
 
    Doerflistrasse 2
 
    CH-6078 Lungern
 
    +41 41 678 00 79
 
    lauten...@lautenist.de
    --
 
 



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[BAROQUE-LUTE] Re: Lute Strings for theorbo

[Christopher Wilke]

Howard,

--- On Thu, 8/11/11, howard posner howardpos...@ca.rr.com wrote:
 
 BTW, I recently saw Toy Story 3 with my family, and
 heartily recommend it.
 --

I too saw Toy Story 3 and enjoyed it.  There were no theorbos in the movie, 
but if there were, only a fool would disagree that they would certainly have 
had only the top string reentrant or been pitched in D. ;-)

Chris

Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com



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[BAROQUE-LUTE] Re: Hasse for solo lute or with voice

[Christopher Wilke]

There are also a couple of pieces (exactly two, if I recall) in the Rosani 
Lutebook, available from TREE.  I don't know of any online sources for those.

Chris

Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Wed, 8/24/11, Jean-Daniel Forget jean-daniel.for...@orange.fr wrote:

 From: Jean-Daniel Forget jean-daniel.for...@orange.fr
 Subject: [BAROQUE-LUTE] Re: Hasse for solo lute or with voice
 To: baroque-lute@cs.dartmouth.edu
 Date: Wednesday, August 24, 2011, 11:47 AM
 
 See at Peter Steur's pages :
 http://mss.slweiss.de/index.php?lang=deuid=2type=mssst=0nm=50title=key=msnam=comp=Hasse
 The 4 arias for lute solo in D-Mbs ms. Mus. 5362, folios
 42v to 48v are, in PDF, at :
 http://jdf.luth.pagesperso-orange.fr/Musiques/Les_compositeurs/Autres_compositeurs/Hasse.htm
 
 Jean-Daniel
 
 
 Le 24/08/11 16:24, hera caius a écrit :
      --- On Wed, 8/24/11, hera
 caiuscaiush2...@yahoo.com 
 wrote:
 
        From: hera caiuscaiush2...@yahoo.com
        Subject: [BAROQUE-LUTE]
 Hasse for solo lute or with voice
        To: baroque-lute@cs.dartmouth.edu
        Date: Wednesday, August
 24, 2011, 5:23 PM
 
         Hello,
         Can anybody tell me where
 to find Hasse pieces for solo lute or
      pieces
         for lute and voice?
         Is there any source on
 internet?
         Thank you,
         Caius
         --
      To get on or off this list see
 list information at
      [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
      --
 
  References
 
      1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 
 
 



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[BAROQUE-LUTE] Re: Hammering on and snapping off

[Christopher Wilke]

Mathias,

--- On Thu, 9/1/11, Mathias Rösel mathias.roe...@t-online.de wrote:
 
 The 1669 print was supervised by Gaultier himself. So it is
 safe to say that
 the tablature shows his intentions. At this particular
 place, however, it
 shows that no slur is intended since there is no slur
 sign.
 

No, the print only reveals that no slur sign is there.  This is not the same as 
no slur being intended, expected or tolerated.  This represents the reification 
of the document - a thoroughly modern concept that confuses the written score 
with the actual music.  This attitude didn't really exist in the 17th century.

This approach places too much faith in the veracity of the text.  Just the 
other day, I got out a guitar piece of mine that was published in 2003.  I 
opened it up and immediately spotted two errors.  One of them was a rhythmic 
mistake and, as it happens, one was a misplaced slur.  Back in 2003, I received 
proofs from the publisher and gave final approval, so even though this edition 
was supervised by the composer himself, mistakes got through.  It is entirely 
my fault, but things that weren't my intentions are now in print.

The idea of the composer's intentions is a very slippery concept in itself.  
Would I care if a performer added some slurs, minutely altered some rhythms, 
etc in one of my pieces?  Brian Ferneyhough would care, but I don't.  Still, 
there are limits to what a performer can do before I have to say, Enough.  
You're misrepresenting the piece.  From everything we know of 17th century 
musical culture, with its expectation of improvisational skills, I have to 
believe that my modern mental limits to malleability are much less flexible 
than Gaultier's would have been.

Chris



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[BAROQUE-LUTE] Re: French Baroque Theorbo Performance Practice

[Christopher Wilke]

David,

Thanks for your interest in my recording.

1) The interlude is really just a simplified reduction of the harmonic ground 
of the first couplet: a passacaglia bass.  It was purely my decision to add 
this intro (it's just descending single notes A-G-F-E) and to run the minuet 
and chaconne together.  I can't really justify it for any reason other than it 
sounded cool to me, but conjecture that it may have been the sort of thing a 
17th century musician might have thought was cool, too.

There are also some obvious errors in the tab, which I corrected.  There is a 
note in the manuscript at the end of chaconne saying to repeat the first 
couplet after every other couplet but I sometimes repeated after two couplets 
or so.  Again, totally my call.  I tried to do things according to what the 
sources state and what seemed most dramatically satisfying to me.

2) I second Mathias's recommendation of Stefan Lundgren's book.

Chris

Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Thu, 9/1/11, Mathias Rösel mathias.roe...@t-online.de wrote:

 From: Mathias Rösel mathias.roe...@t-online.de
 Subject: [BAROQUE-LUTE] Re: French Baroque Theorbo Performance Practice
 To: baroque-lute@cs.dartmouth.edu
 Date: Thursday, September 1, 2011, 9:42 AM
 The Lute Companion, a large
 collection of 11c lute music compiled by Stefan
 Lundgren´, has some major 17th century sources on lute
 music performance
 collected in his introduction. Highly recommended.
 
 Mathias
 
  -Ursprüngliche Nachricht-
  Von: lute-...@cs.dartmouth.edu
 [mailto:lute-...@cs.dartmouth.edu]
 Im
  Auftrag von David Smith
  Gesendet: Donnerstag, 1. September 2011 05:30
  An: baroque-lute@cs.dartmouth.edu
  Betreff: [BAROQUE-LUTE] French Baroque Theorbo
 Performance Practice
  
     Greetings,
  
     I have been looking at the performance of
 Hurel by Christopher Wilke on
     his CD and have a couple of questions:
  
     1.       Between
 the Menuet de l'Opera and the Chaconne composee pour
     Melle De la Balme on the last track there
 is an interlude that is not
     clear to me where it comes from. Anyone
 have a thought?
  
     2.       What is
 a good reference for French Baroque performance
     practice on Lute and/or Theorbo
 (preferably in English)? I hear lots of
     ornamentation as well as additional notes
 in the CD performance and
     would love to have some guidance on what
 is stylistically appropriate.
     Otherwise I end of copying what I hear
 (which is not bad but having
     knowledge would be nice).
  
  
     Thanks in advance for any information you
 can provide.
  
  
     Regards
  
     David
  
  
     David W. Smith
  
     355 NW Silverado Dr.
  
     Beaverton, OR 97006
  
     503.753.8417
  
  
     --
  
  
  To get on or off this list see list information at
  http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 

[BAROQUE-LUTE] Re: Hammering on and snapping off

[Christopher Wilke]

Mathias,

--- On Thu, 9/1/11, Mathias Rösel mathias.roe...@t-online.de wrote:
 
 We will never know what exactly Denis Gaultier intended
 because we cannot
 ask him any more.


Right.  I tried calling but he must have turned his cell phone off.

 We may assume, however, that the
 tablature represents his
 intentions to the best of his then means because he
 supervised its making.
 

We can't assume that.


 We can't ask
 Denis Gaultier.


I also tried emailing.  It bounced back.  I might try going over to his place 
latter.

 That
 is why we can't claim that he forgot to correct an omitted
 slur sign.


I'm beginning to think he just might be embarrassed to admit it.

 It's
 not there in his authorized print, that's all we can say.
 

Right.  We can not assume, however, that the print represents some 
pseudo-Platonic ultimate version that Gaultier set down for once and for all.  
(From what we know of 17th century attitudes towards musical texts, this seems 
highly unlikely.)  We need to look at other sources and take into account what 
stylistic features may have been expected.  Saying simply, as you did in a 
previous message, that no slur is intended since there is no slur sign, 
doesn't take into account the performance practice we know was applied to 
scores at the time.  As an analog in our own time, a jazz musician would be 
annoyed if a player played a standard lead sheet exactly as written since the 
person would have demonstrated total ineptitude with jazz style.  We might very 
well conjecture that Gaultier didn't notate a slur because he knew that a 
contemporary performers would do one anyway.  Or not.  The print, taken in in 
isolation, doesn't say.

 Doesn't mean you can't play a slur there according to your
 whim and taste.
 Everybody is free to do as they please.
 

Quite right.  No need to go on arguing about two notes.

Chris



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[BAROQUE-LUTE] Re: L'Infidele

[Christopher Wilke]

Hi Rob,

Here's something you can try for chords like this: With your thumb well out 
in advance of the fingers, lift the pinky off the soundboard, rotate the 
knuckles parallel to the floor and bend the wrist away from the belly.  (This 
will essentially turn your right hand into a modern classical guitarist's - 
horrid sacrilege, I know ;-)  If you're already playing close to the bridge, 
you can manage this with your pinky down if you place it on the bridge.  You'll 
have to really bend the tip joints if you don't want a super brittle tone.

Using this technique, I find the stretch quite easy and can do it 
comfortably with both p-i-a and p-i-m.  As Danny said, there are many similar 
things happening in later rep.

Chris


Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Tue, 10/4/11, Rob MacKillop robmackil...@gmail.com wrote:

 From: Rob MacKillop robmackil...@gmail.com
 Subject: [BAROQUE-LUTE] Re: L'Infidele
 To: Daniel Shoskes dshos...@mac.com
 Cc: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu
 Date: Tuesday, October 4, 2011, 6:31 AM
 I can play the 13th and 1st courses
 simultaneously without too much of a problem. I think the
 problem is having the index also on the 5th. Like Martin, I
 play closer to the bridge when the extremes are called for,
 and by and large I think I will manage it, but it isn't
 easy. 
 
 Interesting that the bass is notated on the 6th course in
 Dresden, where a swan-knecked lute may have been used, and
 on the 13th in London, where a treble and bass rider might
 have been used. This connects with Martin's suggestion that
 the more modern swan lute tended to have a wider spacing. I
 seem to have a bit of both.
 
 I can't supply chapter and verse, Martin, for string
 spacings, but Malcolm and I did see a list from David Van
 Edwards of all (possibly) surviving bridges. I think 150 to
 153 was the mean, with some as low as 140, others up to 160.
 I was more concerned about courses being too close together,
 which for me can be really annoying, so 153 seemed a good
 choice. If I can find that list, I'll post it here. 
 
 As I say, I can manage it, but it isn't easy. I might go
 for the Dresden option, putting the bass up an octave.
 
 Rob
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[BAROQUE-LUTE] Re: L'infidele

[Christopher Wilke]

Bill,

   I believe Baron played a 12 course.  He's picture with one and I remember 
reading that nearly all of his music only calls for 12.  Although the 13th 
course is found in a few pieces, it was probably written in later.  I have 
spent virtually no time with Baron's music, so I can't really say.

Chris




Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com


--- On Tue, 10/4/11, William Samson willsam...@yahoo.co.uk wrote:

 From: William Samson willsam...@yahoo.co.uk
 Subject: [BAROQUE-LUTE] Re: L'infidele
 To: Rob MacKillop robmackil...@gmail.com
 Cc: baroque-lute@cs.dartmouth.edu baroque-lute@cs.dartmouth.edu
 Date: Tuesday, October 4, 2011, 12:48 PM
    I've no idea -
 don't know much at all about Weiss or the sources.
    What does interest me, though, is your
 reference to his use of 12
    courses.  I wonder if this was just
 the usual 13c lute and the music
    didn't call for the 13th course, or could
 it have been a distinct type
    of lute, intermediate between the 11c and
 the 13c lute?  I would
    think the 2-headed 12c lute of Mace and
 Jacques Gaultier would have
    fallen out of fashion by that time so is
 this a one headed (with
    rider(s)) lute?  Is there any museum
 specimen or iconography to support
    its existence?
    Any thoughts?
    Bill
    From: Rob MacKillop robmackil...@gmail.com
    To: Louis Aull aul...@comcast.net
    Cc: baroque-lute@cs.dartmouth.edu
 baroque-lute@cs.dartmouth.edu
    Sent: Tuesday, 4 October 2011, 17:21
    Subject: [BAROQUE-LUTE] Re: L'infidele
    Is there a notable difference between the
 London and Dresden scores in
    how Weiss actually played?
    I see the London ms as what we might call
 'Early Weiss' - 11c, 12c and
    13c bass rider lutes, dramatic harmony,
 shorter dance movements,
    fingered bass notes on low courses - and
 Dresden as 'Late Weiss' -
    swan-knecked theorbo lute, no fingered
 bass note below the 8th course,
    more cohesion (less drama), more complex
 modulations, longer, more
    developed galanterien.
    Is this how most of us see it, and if so,
 are there other indicators of
    the development of Weiss's technique?
    Although I have played an 11c lute
 before, I saved Weiss for when I had
    a 13c. The amount of music he left us is
 overwhelming. What a treasure!
    Rob
    To get on or off this list see list
 information at
    [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
    --
 
 References
 
    1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 



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[BAROQUE-LUTE] Bocquet vids

[Christopher Wilke]

Hello all,

 After a long hiatus from any video posting, I've put up four new videos of 
pieces in A minor by Mademoiselle Bocquet.  Good stuff.  Her music is 
wonderfully idiosyncratic and filled with character. Be warned, though: 
everything is wrong in the videos - wrong instrument (13-course), wrong strings 
(synthetic), wrong miking (very close), wrong reverb (zero), and wrong hand 
position (close to bridge) ;-)  Actually, I'm deliberately going after a 
concept of tone quite different from what seems to be the norm nowadays.  
Comments welcome.

Prelude:
http://www.youtube.com/watch?v=AQLCMNIljOA 

Sarabande:
http://www.youtube.com/watch?v=TLWt9EjqFeA

La Polonoise, an allemande gay
http://www.youtube.com/watch?v=lX5aURi_pd8

Allemande, an allemande grave
http://www.youtube.com/watch?v=6lWon1JBXIc

Enjoy!

Chris

Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com



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[BAROQUE-LUTE] Re: B-minor suite with tabulature!

[Christopher Wilke]

Arto,

--- On Thu, 12/15/11, wi...@cs.helsinki.fi wi...@cs.helsinki.fi wrote:
 
 B-minor is amazingly good key to d-minor lute! I wonder why
 it is so rare.
 

Everyone knows that all period lutenists played everything in h-Moll, obviously 
transposing the tablature at sight. Obviously. ;-)

Chris

Christopher Wilke, D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com




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[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

[Christopher Wilke]

Jean-Marie,
   Can you post a translation of the passages?  I can fight my way through
   it, but French is not one of my languages.
   Chris
   Christopher Wilke
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Fri, 1/6/12, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:

 From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
 Subject: [BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor
 tuned lute...
 To: howard posner howardpos...@ca.rr.com, Baroque lute Dmth
 baroque-lute@cs.dartmouth.edu
 Date: Friday, January 6, 2012, 12:51 PM

   Dar Howard and all,
   I am sorry I must disagree with the Mersenne bit below. Mersenne
   insists that the best way to play in tune with fretted instruments in
   particular, is to use some sort of equal temperament. Just one example,
   from his Livre Troisieme des Genres de la Musique, Proposition XII :
   Puisque l'experience enseigne que le Diapason qui a moins de degrez,
   et de diuisions pour seruir `a toute sorte de Musique est le plus vsite
   et le plus commode, et que tous les Praticiens auoueent que la diuision
   de l'Octaue en 12 demitons leur est plus facile pour toucher les
   Instrumens, il est raisonnable que nous ajoutions cette proposition en
   leur faueur, afin de monstrer que ce n'est pas sans raison qu'ils
   suiuent les Aristoxeniens dans leur Pratique, qui fait voir sur la
   Viole, et sur les autres Instrumens `a manches touchez, que le Triton
   et la fausse Quinte ont vn interualle egal, et que l'Octaue est
   composee de 3 Tierces majeures, dont chacune est vn peu moindre que
   celle de 5 `a 4, comme l'on void en ces 3 nombres 64, 125, 128, dont le
   premier et le second contiennent 3 Tierces majeures, et le premier et
   le dernier font l'Octaue iuste, qui surpasse les trois Tierces d'vne
   diese Enharmonique de 128 `a 125: et parce qu'elle est moindre que deux
   commas, il s'ensuit que ch!
   aque Tierce maieure n'est diminuee que de la raison de 128 `a 127, qui
   n'est guere plus grande que la moitie du comma, laquelle n'est pas
   sensible: car si l'on diuise la diese en trois raisons, ou interualles,
   qui approchent fort pres de l'egalite, l'on aura ces quatre nombres
   128, 127, 126, 125.
   Not really supporting meantone advoctaes here...
   Another interesting testimony from from the harpsichord maker Jean
   Denis, in his Traite de l'accord de l'espinette, Ballard, 1650 (Chap.7,
   Traite de l'accord de l'espinette)  :
   Parlons de nos Accords et de leurs differences, comme [-10-] nos
   Anciens voulurent accorder l'Espinette, ayant compose le Clauier dans
   sa perfection, comme il est maintenant, ils accorderent, comme j'ay dit
   cy-deuant, innocemment toutes les quintes iustes, qui est l'accord que
   cet homme nous presente, et venant `a toucher, ils trouuerent que cet
   accord repugnoit fort `a leurs esperances, et que les tierces maieures
   estoient trop fortes, et si rudes que l'oreille ne les pouuoit
   souffrir, et qu'ils ne trouuoient point de semitons ny maieurs ny
   mineurs, mais vn semi-ton moyen, qui n'est ny maieur ny mineur, estant
   plus foible que le majeur, et plus fort que le mineur; et que les
   cadences ne valoient rien, ne pouuant souffrir cette rudesse qui
   blessoit si fort le sens de l'oueye, qui donne le plus de plaisir `a
   nostre ame; se resolurent de temperer si bien cet accord, que l'oreille
   fust aussi, contente de la Musique Instrumentale, que de la Vocale: Et
   voulant baisser les tierces ma!
   jeures, se trouua que par necessite il falloit baisser toutes les
   quintes et les temperer en sorte que l'oreille le peust souffrir. De
   vous dire qu'ils ne se soient seruis de la Theorie de la Musique, et
   qu'ils n'eussent vn Monochorde pour trouuer les proportions; je ne nie
   pas cela. Ie ne desire point parler de la Theorie, mais seulement de la
   Pratique et vsage. Et comme nous accordons l'Espinette dans la
   perfection (je dis perfection, pource qu'on ne peut adjouster ne
   diminuer en cet accord sans gaster tout) nous baissons toutes les
   quintes d'vn poinct, et en telle sorte que la quinte paroist encor
   bonne, quoy qu'elle ne soit pas juste, et sur la quantite des quintes
   qui sont douze en tout, les autres n'estant que repliques, les baissant
   toutes d'vn point, faite le si petit que vous voudrez, il faut douze
   poincts, qui est la difference de la premiere `a la derniere quinte, et
   toutes les quintes doiuent estre temperees [-11-] esgallement, et
   toutes pareilles, et la premiere!
 corde est la feinte de E mi, la, et sa quinte B fa, qu'il fau!
   t tenir f
   oible, et de la feinte B fa, `a la touche F vt, fa, qu'il faut encore
   tenir foible, et ainsi des autres, comme la Pratique nous enseigne; et
   la derniere corde est la feinte de G re, sol, vt, qui est la fin de
   l'accord. Faut faire les Octaues toutes justes, estant l'accord le plus
   parfait de tous. Or de ces deux accords le meilleur

[BAROQUE-LUTE] Re: JF Daube

[Christopher Wilke]

   There is some interesting performance practice advice in the 1756
   treatise on continuo playing. Daube says that it is best for
   keyboardists not to arpeggiate; they shouldn't ordinarily roll chords
   as is done on the lute. He also says that harpsichordists should lift
   their fingers from the keys as soon as the chord is sounded. Gasparini
   said something similar in 1708. I don't know of too many harpsichord
   players who actually do this.
  Daube does allow for an arpeggiated chord in the so-called
   theatrical style at the end of a big aria when there is a lot of
   applause(!).
   Chris
   Dr. Christopher Wilke D.M.A.
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Mon, 4/2/12, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:

 From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
 Subject: [BAROQUE-LUTE] Re: JF Daube
 To: baroque-lute@cs.dartmouth.edu, Bernhard Fischer
 fischer...@aon.at
 Date: Monday, April 2, 2012, 6:19 AM

  Re works by J F Daube, as well as the lute works, there is at least
   one
  piece by him which includes mandora: a sonata for violin and mandora
  from his  'Musical Dilettante: A Treatise on Composition (Vienna,
   1773
  )'.  This work was aimed at amateurs and especially aristocratic
  dilettantes wishing to compose instrumental chamber music - it is
  overshadowed by his earlier better known treatise on Thorough-Bass
   in
  Three Chords(!) of 1756.   I don't have a copy of the original book
   but
  have a modern copy of the relevant piece in staff notation in Dr
  Klima's hand. There is a modern edition of Musical Dilettante (in
  English) by CUL (2006).
  regards
  Martyn
  --- On Mon, 2/4/12, Bernhard Fischer [1]fischer...@aon.at wrote:
From: Bernhard Fischer [2]fischer...@aon.at
Subject: [BAROQUE-LUTE] JF Daube
To: [3]baroque-lute@cs.dartmouth.edu
Date: Monday, 2 April, 2012, 8:58
 Dear lute friends,
 Over the weekend I recorded three pieces in d-minor, Fantasia,
  Andante
 and Tempo di Menut, from the composer Johann Friedrich Daube.
 [1][1][4]http://vimeo.com/39585657 or
   [2][2][5]http://youtu.be/9tfs2wwIcr8
  Johann Friedrich Daube was born in 1733 in Hessen (Germany) and
  died
 in 1797 in Vienna (Austria). He played the theorbe at the Royal
  Court
 of Friedrich II (Friedrich the Great) in Berlin where he also
   met
 Carl Phillipp Emanuel Bach. Via Stuttgart and Augsburg he moved
   to
 Vienna. His music combines elements of late baroque and early
  classic.
 I still need to find his traces in Vienna.
 Has anyone more and specific information about Daube?
 Kind regards from Vienna, Bernhard
 --
  References
 1. [3][6]http://vimeo.com/39585657
 2. [4][7]http://youtu.be/9tfs2wwIcr8
  To get on or off this list see list information at
  [5][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1. [9]http://vimeo.com/39585657
  2. [10]http://youtu.be/9tfs2wwIcr8
  3. [11]http://vimeo.com/39585657
  4. [12]http://youtu.be/9tfs2wwIcr8
  5. [13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. file://localhost/mc/compose?to=fischer...@aon.at
   2. file://localhost/mc/compose?to=fischer...@aon.at
   3. file://localhost/mc/compose?to%c2%baroque-l...@cs.dartmouth.edu
   4. http://vimeo.com/39585657
   5. http://youtu.be/9tfs2wwIcr8
   6. http://vimeo.com/39585657
   7. http://youtu.be/9tfs2wwIcr8
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. http://vimeo.com/39585657
  10. http://youtu.be/9tfs2wwIcr8
  11. http://vimeo.com/39585657
  12. http://youtu.be/9tfs2wwIcr8
  13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Berg

[Christopher Wilke]

Sterling,
Disappointed. I was expecting a link to a youtube posting of lute
   music by Alban Berg. ;)
   Chris
   Dr. Christopher Wilke D.M.A.
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Sat, 4/7/12, sterling price spiffys84...@yahoo.com wrote:

 From: sterling price spiffys84...@yahoo.com
 Subject: [BAROQUE-LUTE] Berg
 To: baroque lute list baroque-lute@cs.dartmouth.edu
 Date: Saturday, April 7, 2012, 1:01 AM

  Hi- I am looking for for the email address of Richard Berg.
  Thanks!
  Sterling
  --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Beyer, Johann C.: Herrn Professor Gellerts Oden, Lieder und Fabeln

[Christopher Wilke]

   Andreas,
   Thanks for pointing it out.
   Interestingly, the ornament table in this source is almost identical to
   the manuscript one usually attributed to Falckenhagen. Being typeset,
   however, you can actually read the words in the Beyer! Beyer is also a
   little more detailed. His table gives an alternate sign for Gebrochner
   Bass (fundamental and octave strings played individually) that is
   found in the Durant A minor solo. I've never heard anyone perform that
   piece with the sign interpreted correctly.
   Chris
   Christopher Wilke
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Thu, 5/3/12, Andreas Schlegel lute.cor...@sunrise.ch wrote:

 From: Andreas Schlegel lute.cor...@sunrise.ch
 Subject: [BAROQUE-LUTE] Beyer, Johann C.: Herrn Professor Gellerts
 Oden, Lieder und Fabeln
 To: baroque-lute mailing-list baroque-lute@cs.dartmouth.edu
 Date: Thursday, May 3, 2012, 11:42 AM

   Have a look:
   [1]http://daten.digitale-sammlungen.de/~db/0007/bsb00072047/images/
   Enjoy!
   Andreas
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://daten.digitale-sammlungen.de/~db/0007/bsb00072047/images/
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Arpeggio question

[Christopher Wilke]

Bernd,
   This is a tricky thing. Usually, I try to find a pattern written
   out in some other lute solo. Karl-Ernst Schroeder did a very good
   survey of the ones found in Weiss sonatas. (I don't remember the source
   off the top of my head.) I find a strict pattern to be uninteresting,
   however, and so I occasionally vary the base pattern for effect when
   the progression is interesting or when there's an especially dissonant
   chord. I usually keep a consistent number of notes in each chord. Who
   knows if this is really correct? Many times the arpeggio sections are
   unmeasured and the very fact that a pattern was not specified on the
   page may imply that a more rhapsodic and personally idiosyncratic
   approach was intended.
For progressions in which the number of notes varies, you could
   always make a patchwork of patterns utilizing each grouping from
   various existing solos, such as Schroeder compiled. Or you could follow
   your own muse and see where it takes you.
   Chris
   Dr. Christopher Wilke D.M.A.
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Thu, 5/17/12, Bernd Haegemann b...@symbol4.de wrote:

 From: Bernd Haegemann b...@symbol4.de
 Subject: [BAROQUE-LUTE] Arpeggio question
 To:
 Cc: lute-cs.dartmouth.edu List l...@cs.dartmouth.edu, baroque
 Lutelist baroque-lute@cs.dartmouth.edu
 Date: Thursday, May 17, 2012, 5:17 AM

   Dear all,
   sometimes we find in baroque lute music chains of chords, notated
   evenly as it seems and with the mark arpeggio or arp.
   Now, if the chain looked like this (with n being the number of notes in
   the chord)
   4 4 4 4 4 4 4 4
   or
   5 5 5 5 5 5 5 5
   one would think of some arpeggio scheme to use it in such a passage.
   But what the number of notes in the chords looks like this
   5 5 5 5 5 5 3 3 3 2 3 3 4 6 6 5 4 4 4
   or so?
   What would you do?
   Thank you for your hints!
   best regards
   Bernd
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: From Sibley: Bruger Schule / Folksongs

[Christopher Wilke]

Arthur,
   Thanks so much for forwarding the info!
   For anyone interested in 19th century guitar, I recently found
   this, published 1810:

Grand trio extrait de Mozart / arrangeI pour guitare ou lyre, violon et
violoncelle par P. Porro.

   https://urresearch.rochester.edu/institutionalPublicationPublicView.act
   ion?institutionalItemId682versionNumber=1
   Chris
   Christopher Wilke
   Lutenist, Guitarist and Composer
   www.christopherwilke.com
   --- On Tue, 5/22/12, A. J. Ness arthurjn...@verizon.net wrote:

 From: A. J. Ness arthurjn...@verizon.net
 Subject: [BAROQUE-LUTE] From Sibley: Bruger Schule / Folksongs
 To: Lute List l...@cs.dartmouth.edu, Baroque Lute List
 baroque-lute@cs.dartmouth.edu
 Date: Tuesday, May 22, 2012, 3:34 AM

   This issue includes Bruger's Schule des Lautenspiels and several
   Folksongsic collections.
   - Original Message - From: [1]nore...@ur.rochester.edu
   To: [2]arthurjn...@verizon.net
   Sent: Tuesday, May 22, 2012 1:03 AM
   Subject: New UR Research Publications for dates: 05/21/2012 -
   05/22/2012
   New publications are available in the UR Research collections you have
   subscribed to
   New publications in Musical Scores: 19
   Publication Name: Folk songs from Mexico and South America / compiled
   and
   edited by Eleanor Hague ; pianoforte accompaniments by Edward Kilenyi.
   URL:
   [3]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 721versionNumber=1
   Editor:Hague, Eleanor
   Arranger:Kilenyi, Edward (1884 - 1968)
   Publication Name: Folk song of the American Negro [by] John Wesley
   Work.
   URL:
   [4]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 720versionNumber=1
   Author:Work, John, Wesley (1873 - 1925)
   Publication Name: The  Mark Stern ragtime folio. No. 1.
   URL:
   [5]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 719versionNumber=1
   Publication Name: Shanghai; a spectacular operetta in two acts by Wm.
   Cary
   Duncan and Lauri Wylie. Additional lyrics  music by Adrian Ross
   [pseud.] 
   Howard Carr.
   URL:
   [6]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 718versionNumber=1
   Composer:Witmark, Isidore (1871 - 1941)
   Librettist:Duncan, William, Cary (1874 - 1945)
   Composer:Ross, Adrian (1859 - 1933)
   Composer:Carr, Howard
   Publication Name: Petites eItudes en mouvement semblable. [Op. 60]
   URL:
   [7]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 717versionNumber=1
   Composer:KoI^hler, Louis (1820 - 1886)
   Publication Name: Schule des Lautenspiels fuI^r die gewoI^hnliche
   Laute,
   Basslaute, doppelchoI^rige und theorbierte Laute. Unter
   beruI^cksichtigung der
   Regeln und Erfahrungen der beruI^hmtesten Lautenmeister des XVI. und
   folgender Jahrhunderte bis zur Gegenwart, herausgegeben von Hans
   Dagobert
   Bruger.
   URL:
   [8]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 716versionNumber=1
   Editor:Bruger, Hans, Dagobert (1894 - 1932)
   Publication Name: Suzanne's secret : interlude in one act, from the
   French
   by Enrico Golisciani = Susannens Geheimnis = Il segreto di Susanna /
   music
   by Ermanno Wolf-Ferrari ; English version by Claude Aveling ; vocal
   score.
   URL:
   [9]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId 715versionNumber=1
   Composer:Wolf-Ferrari, Ermanno (1876 - 1948)
   Author:Golisciani, Enrico (1848 - 1918)
   Translator:Aveling, Claude (1869 - 1943)
   Publication Name: 9 meIlodies d'Albert Eibenschutz. Chant et piano.
   PoeIsies
   de Mirza Schaffy et Maurice Plaeschke. Version francaise de Lucien
   Solvay.
   URL:
   [10]https://urresearch.rochester.edu/institutionalPublicationPublicView
   .action?institutionalItemId 714versionNumber=1
   Composer:EibenschuI^tz, Albert
   Author:VazehI/=, MirzaI/-, ShaI/-fi ( - 1852)
   Author:Plaeschke, Maurice
   Translator:Solvay, Lucien
   Publication Name: Negro folk singing games and folk games of the
   habitants;
   traditional melodies and text transcribed by Grace Cleveland Porter;
   accompaniments by Harvey Worthington Loomis.
   URL:
   [11]https://urresearch.rochester.edu/institutionalPublicationPublicView
   .action?institutionalItemId 713versionNumber=1
   Arranger:Porter, Grace, Cleveland
   Arranger:Loomis, Harvey, Worthington (1865 - 1930)
   Publication Name: Ceremonial songs of the Creek and Yuchi Indians, by
   Frank
   G. Speck, with music transcribed by Jacob D. Sapir.
   URL:
   [12]https://urresearch.rochester.edu/institutionalPublicationPublicView
   .action?institutionalItemId 712versionNumber=1
   Author:Speck, Frank, G (1881 - 1950)
   Arranger:Sapir, J, D
   Publication Name: American-English folk

[BAROQUE-LUTE] Baroque Lute Kickstarter Project

[Christopher Wilke]

   Hello!
 Here is an opportunity for you to help put some very beautiful
   lute music on record for the first time. My album, Swan Song of the
   Lute, has been in the works for some time. About half of it is already
   recorded, totally funded by myself. Now, some assistance is needed to
   complete it.
In order to bring this project to fruition I've opened an account
   with the creative project funding platform, Kickstarter. Anyone
   interested may contribute as little or as much as they'd like. Note
   that there are incentives for different levels - including an
   opportunity for me to come play for you or your organization!
Details about the project are
   at [1]http://www.kickstarter.com/projects/1600736048/christopher-wilke-
   album-project-swan-song-of-the-l?ref=email
There you will find a video with actual audio clips from the
   recording sessions as well as a written description. This is a chance
   for us luters to get behind ueber-obscure music and show record labels
   that interest in this stuff is out there.
Thanks so much for your time. Even if you're not able to
   contribute, please consider passing word along to others.
   Thanks,
   Chris
   Dr. Christopher Wilke D.M.A.
   Lutenist, Guitarist and Composer
   www.christopherwilke.com

   --

References

   1. 
http://www.kickstarter.com/projects/1600736048/christopher-wilke-album-project-swan-song-of-the-l?ref=email


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

[BAROQUE-LUTE] Re: Bream Collection... I just noticed

[Christopher Wilke]

Mark,

   The guitar isn't taken seriously in music departments because they don't 
need it to play Beethoven... or Brahms... or Schubert... or the entire concert 
band/symphonic winds repertoire. This is the reason scholarships are given out 
to students playing other instruments over guitarists. This is a pity, because 
if you look at the actual number of instruments sold, guitars outsell 
everything else by a huge margin.

Guitarists are partly to blame, however. Most classical guitar instructors 
insist on regurgitating the tiny handful of repertoire pieces they learned in 
school as if they sacred scripture. No imagination. Some of those pieces are 
good, but most are just mediocre and quite a few are downright bad. (And so 
many transcriptions! When is the last time you heard a pianist play Tarrega? 
When is the last time you heard a non-guitarist play anything by Ponce for that 
matter?) It is a shame so few guitarists take the time to investigate their own 
lesser known repertoire. There are many gems that rarely get heard. The guitar 
would be taken more seriously if the emphasis was placed on quality music 
instead of going through the motions with the spoon fed status quo.

Chris


Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com


On Sun, 12/8/13, Mark Seifert seifertm...@att.net wrote:

 Subject: [BAROQUE-LUTE] Re: Bream Collection... I just noticed
 To: BAROQUE- LUTE Lutelist baroque-lute@cs.dartmouth.edu
 Date: Sunday, December 8, 2013, 11:48 AM
 
    Recently heard a
 momentarily despairing director of two local
    university classic guitar programs mention
 how the guitar is not taken
    very seriously by academic music bosses
 because it doesn't feature
    much Beethoven.  While watching a
 recent huge and loud pipe organ
    performance, I thought of the king of
 instruments.  And the lute is
    supposedly the queen of instruments
 though largely defunct.  The
    piano has far surpassed the organ in
 popularity and prevalence of use.
    Does that make it the Emperor of
 instruments?  I think so, but I
    instinctively oppose imperialism. 
 But what about the harpsichord,
    which some books claim supplanted the
 lute. Prince of instruments??
    While watching instructional videos on
 great Dutch painters of the 17th
    century, the very knowledgeable fine arts
 instructor referred to all
    plucked string instruments in the
 paintings as lutes regardless of
    whether or not a cittern, lute, mandora,
 bandora, harp, theorbo or
    other instrument appeared in any
 painting.  When I saw a flat-backed
    instrument which could have been a guitar
 variant, the instructor
    called it a lute.  By golly, the
 guitar is a lute if the term is
    interpreted broadly!  That means I
 can assure the guitar instructor
    that he teaches the queen of instruments,
 though this will take him
    aback for sure.  He likes the lute,
 but doesn't want to add another
    instrument to his heavy workload. 
 Perhaps there should be shame upon
    the academic music directors who overlook
 the dozens! of classical
    guitar students when giving school awards,
 etc.  Tuba, trombone, voice,
    piano, flute all got awards, but the
 guitar students got nothing last
    year despite some classy performances of a
 broad repertoire.  None were
    invited to a major gala event (not loud
 enough?).
    Dear Mr. Correia, have you heard any of La
 Nef's CDs?  Sylvain Bergeron
    and Jeanette Sorrell have methods for
 integrating lute into their
    performances which seem almost
 unique.  When a harp, harpsichord, or
    dulcimer is needed, a harp or harpsichord
 is chosen, but the results
    are always a delight to the ears.
    As I dragged a lute from the car into
 the  house yesterday after my
    short trip, a visiting lady asked me about
 it.  She had never before
    seen or heard a lute senso stricto, but
 last month recorded her own
    singing with a Mariachi band.
 
    Mark Seifert
       From: William Brohinsky tiorbin...@gmail.com
    To: howard posner howardpos...@ca.rr.com
    Cc: Lute Dmth l...@cs.dartmouth.edu
    Sent: Friday, December 6, 2013 2:00 PM
    Subject: [LUTE] Re: Bream Collection... I
 just noticed
      Ernesto said:
      Generally speaking, we want to get
 more guitarists into the lute, not
       the other way around, isn't it?
      yes, someone expressed that idea.
      On Fri, Dec 6, 2013 at 4:09 PM,
 howard posner
      [1][1]howardpos...@ca.rr.com
 wrote:
      On Dec 6, 2013, at 12:52 PM,
 William Brohinsky
      [2][2]tiorbin...@gmail.com
 wrote:
       I have to admit to not
 understanding the idea that the purpose of
    the
      list or of lutenists should be to
 try to force people's direction one
      way or the other.
        I don't think anyone has
 actually expressed that idea.
      --
      To get on or off this list see list
 information at
        [3]http

[BAROQUE-LUTE] Re: Baroque lute MSs in Poland

[Christopher Wilke]

David,

 Thank you for doing this. You've provided a great service. Some good stuff in 
those manuscripts. It will take me a while to go through all of it. (Assuming I 
find a replacement lute soon!)

Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com


On Sun, 2/16/14, David Smith d...@dolcesfogato.com wrote:

 Subject: [BAROQUE-LUTE] Re: Baroque lute MSs in Poland
 To: 'Rainer' rads.bera_g...@t-online.de, 'Lute net' 
l...@cs.dartmouth.edu, baroque-lute@cs.dartmouth.edu
 Date: Sunday, February 16, 2014, 6:54 PM
 
 I just posted all 10 of the Grüssau
 manuscripts from the Uniwersytet
 Warszawski in Poland. I have included both the PDF files for
 Mf 2001a/RM
 4135a through Mf 2011/RM 4143 and the link to the originals
 at the
 university. The links do not seem to be behaving themselves
 today. I do not
 know if ebuw.uw.edu.pl is down or what. But all of the
 documents are now
 posted at
 
 www.dolcesfogato.com/Music
 
 Let me know if these are useful or if you find any
 problems.
 
 Regards
 David
 
 -Original Message-
 From: lute-...@cs.dartmouth.edu
 [mailto:lute-...@cs.dartmouth.edu]
 On Behalf
 Of Rainer
 Sent: Sunday, February 16, 2014 10:01 AM
 To: Lute net; baroque-lute@cs.dartmouth.edu
 Subject: [BAROQUE-LUTE] Baroque lute MSs in Poland
 
 Dear lute netters,
 
 Recently I have posted links to several Baroque (18th
 century) lute
 manuscripts.
 
 Apparently several people have (due to the idiotic format -
 zipped files of
 1 page djvu files) severe problems to download not to
 mention display the
 files.
 
 I have finally managed to create a decently small pdf file
 from one of them
 - 25MB. First tries ended with 400MB files ...
 
 
 Anyway, I am not willing to distribute such files via
 e-mail. If anybody can
 
 offer web (ftp?) space for these I will create more pdf
 files and upload
 them.
 
 Is Sarge on the list?
 
 Rainer adS
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 

[BAROQUE-LUTE] LSA Cleveland Lute Rental

[Christopher Wilke]

Hello all,

 My wonderful baroque lute was damaged by an airline back in January. It's 
back with the maker, undergoing lengthy repairs. So far, I've been able to get 
by through the generosity of several folks who have been so kind as to loan me 
instruments.

I was wondering if someone might be coming to the Cleveland LSA Seminar who 
could bring along a 13 course I could rent? If so, contact me off list.

You ARE registered for the LSA Seminar this 22nd-28th, aren't you??? If 
not, avoid the bitter pain of disappointment and unbearable sting of regret by 
registering immediately at:

http://www.cs.dartmouth.edu/~lsa/seminar/Cleveland2014/registration.html

Info at:

http://www.cs.dartmouth.edu/~lsa/seminar/

Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.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

[Christopher Wilke]

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 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
  1764    Prague
  
    152
  BURKHOLZER, Hanns    1596
  Vienna KHM    44 / 4056 / NE
  48    153
  EDLINGER,  Thomas
  1734    Leipzig
  497
    155

[BAROQUE-LUTE] My new baroque lute album project!

[Christopher Wilke]

Hi all,

 Very exciting news! I've launched a Kickstarter crowdfunding project to 
finish up my NEW lute album. This is a followup to 2013's Graceful 
Degradation, which was also partially funded through Kickstarter. Thanks to 
the generosity of many on this list, that album was a great commercial success 
and it got fantastic reviews.

The new album, Desperate Doors features music by Bach, Weiss and 
Falckenhagen. It is 95% finished, but needs just a bit of help to bring it to 
completion. But this is not your ordinary take on these incredible pieces. As a 
complement to the work of these great composers, I've included some written-out 
doubles and sections of historically informed improvisation (cadenzas, etc.) 
that you will never hear anywhere else.

Since the previous album sold so well, I was able to re-invest profits into 
this new venture.  I'm therefore able to request only a modest amount of 
assistance to cover just a fraction of the total expenses involved in this 
project. Similar early music albums on Kickstarter have had funding goals of 
$10,000 and greater. You may pledge as little or as much as you like. In 
exchange for your support in bringing this music to the world, however, you can 
get an advanced release copy of the album for the same price the general public 
will pay later. It's win-win for both of us!

Please check out the following link, which includes a video description and 
album samples. Even if you're not able to help with funding, please consider 
sharing the info with as many as you can.

https://www.kickstarter.com/projects/1600736048/desperate-doors-baroque-lute-album

Thank you for your consideration!!!

Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com



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

[BAROQUE-LUTE] Prelude from BWV 995

[Christopher Wilke]

Hello all,

Please check out my video of the prelude from Bach's Suite in G minor, BWV 
995. I've committed the cardinal sins of using a range of colors and dynamics 
and otherwise neglecting to treat the music as a relic in a museum.

   If you decide to give it a thumbs down, you are welcome to do so, but I 
request that you leave a constructive comment.

https://www.youtube.com/watch?v=sJIomMAh9oU


Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.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: [BAROQUE-LUTE] Re: ▶ Courante by Weiss from Rohrau, Christopher Wilke, baroque lute - YouTube

[Christopher Wilke]

   Thanks for your kind comments Roman and Ed! Yes, it's a Schelle. This
   particular lute was on temporary loan from Roland Hayes, a member of
   this list. When the recording was made, my own 13-course lute had
   recently had its very violent altercation with airline baggage
   handlers.
   Best,
   Chris
   [1]Sent from Yahoo Mail for iPhone

 At Feb 9, 2015, 8:06:32 AM,
 r.turov...@gmail.com'r.turov...@gmail.com' wrote:

   Looks like a Schelle to me. But I'm sure Chris could get as much out of
   any axe.
   RT
   On 2/8/2015 5:27 PM, Edward Martin wrote:
   Very good, Chris! What instrument is that?
   On Sun, Feb 8, 2015 at 3:40 PM, [1][2]r.turov...@gmail.com
   [2][3]r.turov...@gmail.com wrote:
   [3][4]https://www.youtube.com/watch?v=5TWfRD1Wc_U
   RT
   To get on or off this list see list information at
   [4][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
   References
   1. mailto:[6]r.turov...@gmail.com
   2. mailto:[7]r.turov...@gmail.com
   3. [8]https://www.youtube.com/watch?v=5TWfRD1Wc_U
   4. [9]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

References

   1. https://overview.mail.yahoo.com/?.src=iOS
   2. javascript:return
   3. javascript:return
   4. https://www.youtube.com/watch?v=5TWfRD1Wc_U
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. javascript:return
   7. javascript:return
   8. https://www.youtube.com/watch?v=5TWfRD1Wc_U
   9. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html

[BAROQUE-LUTE] Falckenhagen variations

[Christopher Wilke]

Hello all,

I've posted a video of my performance of Adam Falckenhagen's variations on 
the chorale tune, Wer nur den lieben Gott laesst walten. It's a pretty wild 
set, starting sedately, but quickly transitioning into rapid, twisting 
arpeggios and ending with a workout in crazy leaping basses at breakneck speed 
for the thumb. I begin the piece with modern baroque lute right hand 
technique (close to the rose; hand coming in at an angle across the strings; 
thumb just slightly in front of the index finger). At 0:28 seconds, on the 
repeat of the initial material, I abruptly move to a more historical thumb 
out position (close to the bridge; fingers very perpendicular to the strings; 
thumb held out strongly in front of the fingers). I believe it becomes a 
different instrument. The cadenza at the end is my own improvisation. 
Constructive comments welcome.

The video is at:
https://www.youtube.com/watch?v=FQUqfH2Va7M

This is from my forthcoming album, Desperate Doors. You still have a chance 
to back it, but time is almost up!
https://www.kickstarter.com/projects/1600736048/desperate-doors-baroque-lute-album

Thanks!
Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.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: Ristori / Weiss. Facts?

[Christopher Wilke]

How well do we know what Weiss's handwriting looked like? Is there a way to be 
definitive on this basis?


Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com


On Mon, 3/2/15, Markus Lutz mar...@gmlutz.de wrote:

 Subject: [BAROQUE-LUTE] Re: Ristori / Weiss. Facts?
 To: David van Ooijen davidvanooi...@gmail.com, Baroque Lute List 
(E-mail) baroque-lute@cs.dartmouth.edu
 Date: Monday, March 2, 2015, 12:13 PM
 
 Hello David,
 in the Staatshandbuch from 1735 Ristori is mentioned next to
 
 Chamber-Lutenist Silvius Leopold Weiss as Chamber-Organist.
 
 They played in the same orchestra, so probably / for sure
 Silvius 
 Leopold Weiss played the theorbo part.
 
 Best regards
 Markus
 
 Am 02.03.2015 um 09:49 schrieb David van Ooijen:
      Coming weekend I'm to play
 Divoti Affetti alla Passione di Nostro
      Signore by Giovanni Alberto
 Ristori. I've been given a figured bass
      that is marked theorbe/organo.
 Ristori worked in Dresden at the time
      Weiss was there too. Are there
 any facts connecting the two?
      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
 
 
 
 -- 
 
 Markus Lutz
 Schulstraße 11
 
 88422 Bad Buchau
 
 Tel  0 75 82 / 92 62 89
 Fax  0 75 82 / 92 62 90
 Mail mar...@gmlutz.de
 
 
 

[BAROQUE-LUTE] Re: Falckenhagen Op. 3

[Christopher Wilke]

   So what music is this?
   http://www.classicalarchives.com/work/919718.html
   Chris
   [1]Sent from Yahoo Mail for iPhone

 At May 9, 2015, 4:11:43 AM, Markus Lutz'mar...@gmlutz.de' wrote:

   Dear Arthur,
   thank you very much for your list of Falckenhagen's works.
   Indeed the matter is very confusing, as there are many historical
   anouncements in newspapers then (of which I don't have copies; J.
   Domning reports them) and the title page of Opera Nuovo doesn't give
   any opus number.
   Anyway I think, that it is possible, even probable, that the Opera
   Nuovo are the same as Opera IV, as they bear a very low plate number
   of Haffner. The have the III, as you also point out.
   This is even more probable, because of the fact - I hope not to have
   missed a thing -, that no other ensemble works beside op. III+IV had
   been announced.
   Op. 5 is a missing print of sonatas for solo lute and doesn't have to
   do
   anything with Opera nuovo (to correct a misleading sentence by
   myself,
   which also might have increased the confusion).
   Best regards
   Markus
   Am 09.05.2015 um 00:39 schrieb AJN:
Dear Markus and Peter,
Perhaps I might belatedly add some additional information from a
   source
I should have consulted when we discussed these
works, Peter. It is a bit confusing, and even expert music catalogers
and bibliographers have been lead astray.
Beginning in the 16th century and for many centuries thereafter
Leipzig hosted an Easter book fair.
For each year a published catalog listed the new works and revised
works, including music, which
were available for purchase from dealers at the fair.
The catalogs are a valuable bibliographical tool for matters such as
ours.
For nearly a century, from 1664 until 1759, the Leipzig firm of
   Johann
Gross (and heirs) published them:
//*Catalogus universalis, hoc est, designatio omnium librorum . . .
vel novi vel emendatieres et auctiores prodierunt*\\
   
Indicated below with .
In catalogs from 1736, 1738 and 1743, the titles of eight works by
Falckenhagen are listed, five with opus
numbers:
   
[Op. 1] Sonate [6] a Liuto solo . . . dedicate . . . Federica Sofia
Villemina,Margravia di Brandenburgo.
   
Opera prima. .. fol. NA 1/4rnberg: Haffner. RISM F71:
copies at B-Bc, D-Rp, D-LEm, GBaLbm
   
   
[Op. 2] Sei Partite a Liuto solo. Opera seconda. fol. kosten 2 Th. NA
1/4rnberg: Haffner.
   
RISM F72: copies at B-Bc, DaBds, GB-Lbm
   
   
[Op. 3] Sei Concerti a Liuto, Traverso [A^2] OboA [A^2] Violino 
Violoncello . . . Opera terza.
   
NA 1/4rnberg: Haffner. RISM F73a-asupplement F72a: plate
no. I: copy of lute part
   
only at PL-Wu.
   
   
[Op. 4] [Sei] Concerti a Liuto, Traverso [A^2] OboA  Violoncello .
   .
. Opera quarta. NA 1/4rnberg: Haffner.
   
No copy known to survive. But we now know it existed at one
time, and maybe . . .
   
   
[Op. 5] [Sei] Sonatine da Camera a Liuto solo. Opera quinta. NA
1/4rnberg: Haffner.
   
No copy known to survive.
   
   
[Op. nuova] [Sei] Concerti a Liuto, Traverso OboA A^2 Violino
Violoncello . . . Opera nvova dedicati a
   
Sua Altezza Serenissima . . . Ernesto Avgvsto, Duca di Sassonia, . .
   .
Duca regnante du Sassonia-Weimar.
   
NA 1/4rnberg:Haffner.
   
   
; RISM F73, plate no. III (ca. 1743): unique copy from
DaWRtl, now at
   
DaWRz (RISM mistakenly cites a copy at PL-Wu; that print is not the
same. It=Opera terza,
   
above). This copy from the private Thurn und Taxis Hofbibliothek,
Regensberg
   
   
The card catalogue at WRz gives the full title and the cataloger
   cites
cross references including a
   
Uniform Title: Trios, Lt Ob Vc, Op. 4.
   
This croass reference seems to be the reason some modern editions
(including our Joachim's Gesamptausgabe)
   
cite this print as Op. 4 (Opera IV), although no where in the print
itself is it so designated.
   
It remains improbable that a copy of Opera quarta was available for
comparison.
   
That is, Op. 4 seems to be a music cataloger's addition.
   
The plate number (III) is also sometimes mistaken as an opus
number,e.g. RISM F73
   
(above) and New Grove which give Op. 3.
   
The g minor concerto (No. 5) is rehearsed on You Tube by
   
John Schneiderman, An Evening with Wilhelmine (Sofia Wilhelmine of
Brandenburg,
   
Fredrickthe Great's sister and Falckenhagen's first patroness.) The
opera nuova concertos are
   
sometimes called flute concerti in modern scores and CDs.
   
The other works are [Sei] Sonate di Liuto solo ;
La premier douzaine des Menuets pour le Lut ;
Sonate del Liuto solo (Vienna)
Not listed is Erstes Dutzend . . . Geistlicher-GesACURnge (Haffner
   pl.
no. XXII, 1746).
RISM F 74. Copies at B-Bc, GB-Lbl and (not listed in 

[BAROQUE-LUTE] New Album Preview

[Christopher Wilke]

Hello all,

   Here is a preview track from my almost-officially-released new album, 
Desperate Doors. (Any day now!)

https://www.youtube.com/watch?v=PS8iuWd9nWs

Thank you,

Chris

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com



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[BAROQUE-LUTE] The New Baroque Album is here!

[Christopher Wilke]

Dear Fellow Lutenists,

It is with great pleasure that I announce the international launch of my new 
solo album, Desperate Doors. It includes works by Bach, Weiss, and Falckenhagen 
with portions of historically informed improvisation. It was recorded during a 
difficult time, causing me to reflect upon the deeply expressive voice of our 
amazing instrument. I believe the results show the timeless healing power of 
art.

Desperate Doors is available world-wide as a physical CD or digital download 
from iTunes, Amazon, CD Baby and many other distributors.

Click here for samples and full liner notes:

http://www.cdbaby.com/cd/christopherwilke12

Thank you,

Christopher Wilke

Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com



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[BAROQUE-LUTE] Re: JS Bach BWV 995 intabulation

[Christopher Wilke]

   Ivar,
   You can find Bach's original on IMSLP at:
   http://imslp.org/wiki/Suite_in_G_minor,_BWV_995_(Bach,_Johann_Sebastian
   )
   I don't know of any online sources for the original tablature
   manuscript. Some have suggested this was possibly made by Adam
   Falckenhagen, although this is not 100% conclusive. Clive Titmuss has
   written a bit on this suite and Bach's other lute music for classical
   guitarists. See:
   http://www.thisisclassicalguitar.com/bachs-lute-suites-clive-titmuss/
   Chris
   [1]Sent from Yahoo Mail for iPhone

 On Aug 1, 2015, 3:40:56 PM, Jean-Daniel Forget wrote:

   For the tablatures, see :
   [2]https://dl.dropboxusercontent.com/u/60516846/Partitions_pour_luth_ba
   roque/Musiques/Les_compositeurs/Johann_Sebastian_Bach/Bach_luth.htm
   Jean-Daniel
   Ivar-Nicholas Fojas a ecrit :
Dear Baroque Lute List,
   
Greetings, I am Ivar from Tucson AZ. I was wondering if anyone could
help me locate the facsimile for a baroque lute intabulation of J.S.
Bach's Lute suite in G minor BWV 995. From what I have read, the
intabulation was done during or shortly after Bach's time by an
   unkown
Lutenist from Leipzig.
   
I am primarily a guitar player and would immensely appreciate
guidance through lute literature related to Bach.
   
I would also be interested in any Literature ( article, modern day
lute intabulation, facsimile etc.) related to J.S. Bach's lute suites
in particular BWV 995/BWV 1011.
   
I've heard about an article by Alice Artz on the Third lute suite
published on the first volume and Issue of LSA journal but have not
been able to find a copy. Thank you in advance for your help and
suggestions.
   
Many thanks,
   
--
   
Ivar-Nicholas Fojas
Fulbright Scholar (Philippines)
Doctoral Candidate, University of Arizona - Bolton Guitar Studies
Program
623-238-5201
   
--
   
   
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   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

[Christopher Wilke]

   There are pieces by Lully (Ouverture de la Grotte de Versailles, etc.)u
   as well as more Italiante repertoire. There's a nice sonata for two
   guitars beginning on page 109. I don't think people were actually
   playing these pieces in 1830.
   [1]Sent from Yahoo Mail for iPhone

   On Sunday, January 3, 2016, 6:37 AM, G. C.  wrote:

 There is a download button, to the right of the pages display. It
   says
 "last ned". Click on that and you can download in normal or high
 resolution (hA,y) and the whole document (alle) or single pages
   (sider
 - write the desired page) Then download with the red button, bottom
 left which says "last ned". Don't know if you have to be in Norway to
 get access though.
 If you choose high resolution, its a 415 Mb document! But can
   probably
 be optimized and shrunken.
 Baroque guitar manuscript presumably, french repertory. Many empty
 pages. Looks like a guest book with all those greetings (haven't
 checked them). German psalms at the end.
 G.
 On Sun, Jan 3, 2016 at 5:02 AM,
 <[1][2]theoj89...@new-old-mail.cs.dartmouth.edu> wrote:
   All:
   I ran across this baroque lute manuscript in the Norway
   National
   Museum
   (Nasjonalbibliteket). From about 1830, it seems rather late for
   baroque
   lute. Does anyone know anything about the manuscript or the
   music? And
   my Norwegian is quite poor (read - nonexistent) - is it
   possible
   to
   download the manuscript from the website (or order it? there is
   a
   shopping cart icon)? Cheers- trj

   [2][3]http://www.nb.no/nbsok/nb/1c1e904cef8b1d14852fe645b2386ed5?index=
   1#0
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 2.
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[BAROQUE-LUTE] Re: resting rt hand pinky

[Christopher Wilke]

   Hi Dick,

   I know of no textual source that does not mention resting the pinky on
   the soundboard. A raised pinky is however quite frequently seen in
   iconography.

   Chris
   [1]Sent from Yahoo Mail for iPhone

   On Monday, March 14, 2016, 5:30 PM, Richard Brook 
   wrote:

   Any thoughts on whether it's OK not to rest rt. hand pinky on Baroque
   lute soundboard. It's always been a strain for me, and I don't think
   everyone does it.
   I have a 13 course instrument.
   Related question. What about putting a little block in front of the
   pinky side of the bridge to rest pinky on, or alternatively some kind
   of thimble
   to lengthen pinky without messing up soundboard. May have to be
   invented.
   Thanks
   Dick Brook
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[BAROQUE-LUTE] Re: Lute Lessons--Seeking Students

[Christopher Wilke]

   I've done quite a few online lessons, too. It's not the best for
   developing tone, but there are other great advantages. You can situate
   yourself or the camera at angles that would be impossible or highly
   awkward in an in-person lesson. It's fantastic for demonstrating close
   ups of plucking technique, for example. I use my phone connected to
   external speakers, so I can hold it in close and move it around for
   multiple perspectives of the same motion.

   Chris
   [1]Sent from Yahoo Mail for iPhone

   On Wednesday, May 4, 2016, 1:02 AM, David van Ooijen
    wrote:

 Welcome to the club! Rob MacKillop and I do the same.
 David
 ***
 David van Ooijen
 [1][2]davidvanooi...@gmail.com
 [2]www.davidvanooijen.nl
 ***
 On 4 May 2016 at 02:30, sterling price
 <[3][3]spiffys84...@cs.dartmouth.edu> wrote:
   To the World Lute Community---I am now offering lute lessons
   via
   Skype.
   I specialize in baroque lute, archlute and theorbo--(and even
   renaissance lute too!) Please do contact me for more info---
   Sterling
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