Duncan
One would think that once a photo was on a web site, linking to that
photo would be perfectly alright, just drawing attention to what is
already there.
I imagine in most cases, there is no problem, as such a link is a
sort of promotion, but apparently the legal area here is
Ed
I forgot to send this to the whole list. I rather like this record,
but it is now very difficult to find.
You can see the tittles at the link below. Perhaps it can be found
second hand.
I also like this de Visée recording
http://tinyurl.com/apg537
There was a thread about this topic on
possibilities do exist as well, as explained in this thread.
regards
Jaroslaw
- Original Message - From: Anthony Hind
anthony.h...@noos.fr
To: lute List lute@cs.dartmouth.edu
Sent: Sunday, March 01, 2009 12:34 AM
Subject: [LUTE] Re: Laurent de La Hyre [loaded?]
Le 28 fÄÅ vr
Oups, I had better correct the end of my message:
(This of course does not mean that I am NOT really very much in
favour of such research).
Or to put it more simply: I am very much in favour of such research.
AH
Le 1 mars 09 à 11:56, Anthony Hind a écrit :
Dear Ed
Your latest
Dear Ed
Your latest baroque lute recording is an example to us of
what can be acheived using gut.
It is not an easy thing stringing a Baroque lute in gut (compared to
a renaissance one), and your work with Dan Larson is a model of
cooperation between lutenist, lute and string maker
Dear Jaroslaw
Le 28 févr. 09 à 01:35, Jarosław Lipski a écrit :
Dear Anthony,
I really didn't want to rehash and old discussion (just wanted to
share an interesting picture), but in a way I am beeing forced to
reply, by your claims that finaly we found the satisfactory and
historicaly
these are
also a plausible alternative, or could have coexisted with loaded
gut.
I believe silk strings do have much greater sustain, although I don't
know how damping through loading may effect this.
Perhaps, Alexander can inform us on that.
Regards
Anthony
Le 27 févr. 09 à 11:35, Anthony Hind
Le 28 févr. 09 à 23:39, alexander a écrit :
http://www.aquilacorde.com/articles4.htm
And you can see Mimmo taking various measurements, explained in the
article above at this link :
http://www.aquilacorde.com/researches.htm
Note that he does not just measure lute bridge holes. The same
might have a variance in color from pale ochre
to burnt umbre.
I hope this information helps you in your research.
Cordially,
Damian
From: Anthony Hind anthony.h...@noos.fr
To: Jaroslaw Lipski jaroslawlip...@wp.pl; alexander
voka...@verizon.net; Monica Hall mjlh...@tiscali.co.uk
Dear Alexander and All
I adress my musings to you as you obviously have had
hands on experimenting with loading and its tonal effect.
(I wrote this before my reply to Damian aboout the more general
question of loading versus low tension HT, from within the loaded gut
coexisted with loaded gut.
I believe silk strings do have much greater sustain, although I don't
know how damping through loading may effect this.
Perhaps, Alexander can inform us on that.
Regards
Anthony
Le 27 févr. 09 à 11:35, Anthony Hind a écrit :
Dear Anthony, You seem to be intent
What precise parts of Mace's work do you find not 'reliable'.
(Descartes last words here)
dt
Don't walk away, René...
Storing lutes in beds. Smashed more theorbi than the airlines.
Daniel
Actually this point goes very well together with the observations
he makes on the rotten
Le 27 févr. 09 à 19:15, dem...@suffolk.lib.ny.us a écrit :
On Fri, Feb 27, 2009, Anthony Hind anthony.h...@noos.fr said:
What precise parts of Mace's work do you find not 'reliable'.
Storing lutes in beds. Smashed more theorbi than the airlines.
I fail to see how this makes Mace
Anthony
Le 27 févr. 09 à 11:35, Anthony Hind a écrit :
Dear Anthony, You seem to be intent on finding evidence to
support a historical
premise for 'loaded' strings. You rely heavily on a color theory
that supposes that
reddish strings indicate loaded strings. Since you are not privy
Dear Jaroslaw
I will begin by the end:
I have to stress here, that I am not against loaded strings even if
it may sound paradoxicaly. I admire Mimmo's great contribution in
finding the best strings for a modern lute player. I use his
strings very often and will advice them to other
Thanks Rafael, you are right. It is back!
It is a very useful database.
Anthony
Le 24 févr. 09 à 02:44, rafael borges a écrit :
It works for me...
Great site! Thanks!
Rafael Borges
De: Anthony Hind anthony.h...@noos.fr
Para: lute List lute@cs.dartmouth.edu
Enviadas: Segunda-feira, 23 de
example.
Regards
Anthony
Regards
Jaroslaw
- Original Message - From: Anthony Hind
anthony.h...@noos.fr
To: Jarosław Lipski jaroslawlip...@wp.pl; lute List
lute@cs.dartmouth.edu
Sent: Saturday, February 21, 2009 4:49 PM
Subject: [LUTE] Re: Laurent de La Hyre
It's good to read
Hello Ed
I am trying go answer off list, but the message seems to be
blocked.
I may have to answer on list, unless you have another solution.
Regards
Anthony
Le 23 févr. 09 à 07:58, Ed Durbrow a écrit :
Hi Anthony,
On Feb 23, 2009, at 5:01 AM, Anthony Hind wrote:
copper does vary
Stuart, you can find advice at Aquila FAQ; but I will copy the
relevant texts.
Anthony
http://www.aquilacorde.com/faqi.htm
FAQ Aquila
26) What is Nylgut and why is it white?
In theory a gut string and a Nylgut one should have the same diameter.
But since nylgut is quite 'stretchy' we
.
Thank you, Jaroslaw, for this very interesting example.
Regards
Anthony
Regards
Jaroslaw
- Original Message - From: Anthony Hind
anthony.h...@noos.fr
To: Jarosław Lipski jaroslawlip...@wp.pl; lute List
lute@cs.dartmouth.edu
Sent: Saturday, February 21, 2009 4:49 PM
Subject: [LUTE] Re
It's good to read you again, Jarosław, and with such an
interesting example.
I would not presume to give any answers, just add a question or two.
It would be good to have Mimmo's specialist opinion, on this.
Aesthetic/loaded?
I note that MP does give two examples contrasting
basses around
it (important). I have people asking for one particular string
which they fit in with others, as they feel it works better. It
definitely has a different color. People were no different back
then, at least at this.
alexander
On Sat, 21 Feb 2009 16:49:34 +0100
Anthony Hind
Dear Mimmo and All,
If I have understood you correctly, there is a sort of
contradiction : as gut becomes thicker, it must be treated to make
it more flexible (higher twist and possibly softening chemicals), or
else it becomes inharmonic. The more flexible it is, for a given
of historical
instruments, drops slightly in relation to the mathematical
formula, which means that, as Mimmo pointed out, the string twist
was higher for the longer instruments.
alexander
On Wed, 18 Feb 2009 12:29:08 +0100
Anthony Hind anthony.h...@noos.fr wrote:
Dear Mimmo and All
Excellent music and example of TO position Arto!
It is a pity that we can't observe JH's LH and RH positions
simultaneously.
It looks as though he might sometimes be using the thumb, as Mark
Wheeler suggested, to protect the bass from being hit in wider
plectrum movement, but perhaps he is
Pour ceux qui n'ont pas accès à la liste luth, Arto Wikla vient de
nous indiquer que
http://www.scribd.com/ contient des exemples de tablature de luth,
tel que les 6 livres d'Airs de Cour de Bataille
par example:
http://www.scribd.com/doc/321030/Airs-de-differents-autheurs-Vol-1-
Oups wrong list, sorry
AH
Le 12 févr. 09 à 12:03, Anthony Hind a écrit :
Pour ceux qui n'ont pas accès à la liste luth, Arto Wikla vient de
nous indiquer que
http://www.scribd.com/ contient des exemples de tablature de luth,
tel que les 6 livres d'Airs de Cour de Bataille
par example:
http
Did you notice during the signing that Barack Obama is a lefty?
I don't suppose he could be the first lefty US President ?
Anthony
Le 9 févr. 09 à 23:06, Jean-Marie Poirier a écrit :
What about this picture from 1601 (by Philippe Galle) : http://
le.luth.free.fr/lefties.htm
When in the same
Le 10 févr. 09 à 00:08, Mathias Rösel a écrit :
I'm assuming the Vermeer doesn't count
dt
Well, okay, you might as well count Santa Cecilia (Saraceni) or
Gaultier (de Reyn). I haven't found out which Vermeer you might have
in mind. But wouldn't you say it's clear as the sun that
for your vintage selection
POD Asree AS101 Intabolatura del leuto del divino Francesco da Milano
Anthony
Le 10 févr. 09 à 13:52, Martin Shepherd a écrit :
Hi gang,
Can anyone help me compile a list of currently available recordings
of Francesco da Milano? Some of the best older recordings
two cultures
makes me less willing to close the doors to any serious approach to
baroque music.
Anthony
Le 8 févr. 09 à 20:37, Jerzy Zak a écrit :
Anthony,
On 2009-02-08, at 19:16, Anthony Hind wrote:
Indeed, there are signs that there were disagreements, between
lutenists of past
Le 9 févr. 09 à 11:45, David Tayler a écrit :
If all the pictures show us that the RH was at the bridge, then
many of the pictures have gone missing.
dt
You must address that question to Robert Barto. But I think these are
recorded interviews, I imagine RB does not mean they are only at
Le 8 févr. 09 à 20:39, Mathias Rösel a écrit :
Anthony Hind anthony.h...@noos.fr schrieb:
Thus J-barring=bass rider, and fan-barring=swan-necked lutes would be
a tendency, but the two sets may not be identical.
e.g. Wolfgang Emmerich who has made research on Railich, tells me
Dear Jean-Marie
Yes these are great pages Jean-Marie, and they were the first
to interest me in this topic.
I have always enjoyed Hoppy's musicality, and humble approach to his
music, however, I was a little disappointed in the Dowland Dream
recording, although I enjoyed his
Le 8 févr. 09 à 00:10, wi...@cs.helsinki.fi a écrit :
Hey gang,
I just found out that I have in a way or another - and more or less -
tubed all my 8 instruments! :-)
Being both a valve and gut sound fan myself, and strongly associating
the warm sound quality of both (transistors with
Le 8 févr. 09 à 01:07, howard posner a écrit :
On Feb 7, 2009, at 9:29 AM, Anthony Hind wrote:
I can think of professional players who do limit themselves to
Renaissance lutes, Jacob Heringman, and this
does seem to have allowed him to develop an extremely elegant
Renaissance RH position
Le 8 févr. 09 à 17:07, Rob MacKillop a écrit :
I would add Ed Martin's 'Allemande' recording to their list. One
of the
best I've heard in a long time.
Rob MacKillop
Very beautiful, and very well appreciated by all I have played it to,
including non-specialists.
I wasn't
Le 7 févr. 09 à 16:43, David Rastall a écrit :
On Feb 6, 2009, at 7:11 PM, jsl...@verizon.net wrote:
Isn't it possible that playing several plucked instruments can be
mutually reinforcing? If I spend all day playing the vihuela,
won't
that improve my lute playing? If I work on
.
- Original Message - From: Anthony Hind
anthony.h...@noos.fr
I can think of two French based professionals who use only one lute
(not the same one), and that is Pascale Boquet on a 7c lute
Renaissance lute, and Miguel Serdoura on a 13c J-barred lute.
To get on or off this list
Le 7 févr. 09 à 19:38, Mathias Rösel a écrit :
Anthony Hind anthony.h...@noos.fr schrieb:
Renaissance lute, and Miguel Serdoura on a 13c J-barred lute.
Note that barring has become an operative trait, whereas bass rider
vs.
swan neck may go unmentioned 8)
--
Mathias
Oh well
is also playing romantic guitar.
V.
- Original Message - From: Anthony Hind
anthony.h...@noos.fr
To: Mathias Rösel mathias.roe...@t-online.de; lute List
lute@cs.dartmouth.edu
Sent: Saturday, February 07, 2009 8:09 PM
Subject: [LUTE] Re: Dilettantism
Le 7 févr. 09 à 19:38, Mathias
David
I very much doubt whether one could now make an exact copy of
a lute that could be confused with the original.
Even a modern lute maker cannot make two exactly identical lutes.
They may be able to make two fairly similar ones, and they will be
original lutes, by that lute maker.
Do you mean the very early fakes, in which a lesser known lutemaker
added a famous name to make them worth more, possibly when Baroquing
a lute?
Anthony
Le 5 févr. 09 à 11:24, David Tayler a écrit :
I'm talking about the fakes that no one knows are fakes--the thirty
percent that we know
. 09 à 10:11, Martin Shepherd a écrit :
Dear Anthony,
My comments are below yours:
Anthony Hind wrote:
Le 4 févr. 09 à 22:08, Martin Shepherd a écrit :
Dear Anthony and All,
Please don't use me as a metronome! I haven't checked this
particular performance against a metronome, but I can
There was an interesting BBC programme, last year, on fakes and
copies, Originals/fakes/reconstructions, Copies and Pastiches, from
the world of art to architecture. Although it was addressed to the
general public, certain questions raised seem relevant to the issue,
here; that is, if we
Thank you, Martin, once more for a delicate performance. Although I
have the excellent hard-bound Tree edition,
it is good to be able to swiftly access your PDF, on which it is
possible to note fingering.
Being of a slightly tense nature, I tend to speed up, while playing,
so following
Anthony Hind wrote:
Thank you, Martin, once more for a delicate performance. Although
I have the excellent hard-bound Tree edition,
it is good to be able to swiftly access your PDF, on which it is
possible to note fingering.
Being of a slightly tense nature, I tend to speed up, while
believes he can express them.
Anthony
Le 2 févr. 09 à 15:57, Taco Walstra a écrit :
On Monday 02 February 2009, Anthony Hind rattled on the keyboard:
The LP's (it is a 2-record set) were done years ago, before people
were
recording in gut.
ed
...
Yes, I forgot that gut stringing, came
for unbowed, below, please read unfretted
AH
Le 3 févr. 09 à 12:56, Anthony Hind a écrit :
Taco
Your remark are short, but call for a rather long answer.
As you may know, I was one of the first to adopt Mimmo Peruffo's
loaded strings on my Baroque lute, and reported back
Le 3 févr. 09 à 11:52, Mark Wheeler a écrit :
Dear David,
Thanks for highlighting some of the problems involved with classical
recordings...
Here are some quotes from a Jacob Heringman interview (LSA
Quartely) about
recording a lute CD...
I would play it safe - I wouldn't take risks
Le 2 févr. 09 à 04:06, Andreas Schlegel a écrit :
The most powerful statement on HIP I know was written in 1768 by Jean-
Jacques Rousseau in his Dictionnaire de musique, art. Notation p.
324:
He speaks about concerts with antique Greek music:
I can give a fairly literal translation, but
thumb-
out; and now, once again, there seems to be a move to an even
stronger thumb-out, right now (similar to the Charles Mouton
painting, rather than the supposed Jacques Gautier, one).
Anthony
Le 2 févr. 09 à 15:03, Anthony Hind a écrit :
Le 2 févr. 09 à 13:36, Edward Martin a écrit
Anthony
At 11:04 AM 2/1/2009 +0100, Anthony Hind wrote:
ED
Well, personally, I don't have the LP, but if I did, I certainly
would not want the degradation that a transfer to CD usually brings.
Compare most of the early Astrée CDs and their CD transfers.
However, these Astrée Lps also appeared
Le 2 févr. 09 à 13:36, Edward Martin a écrit :
No, it was recorded before carbon was available. He used standard
Pyramid strings, strung in the manner in which we strung lutes back
in the 1970's. His technique was playing close to the rose, etc.
Right, my first, rather brief contact
ED
Well, personally, I don't have the LP, but if I did, I certainly
would not want the degradation that a transfer to CD usually brings.
Compare most of the early Astrée CDs and their CD transfers.
However, these Astrée Lps also appeared under the Telefunken label,
and these were even
Peter
I very often have problems of that sort with my MAC, but this
time, no problem at all.
It is a MACbook, but a few years old, and it is having problems with
any large file, but this time there was absolutely no difficulty.
However, I was using FireFox.
Anthony
Le 31 janv. 09 à
Le 29 janv. 09 à 01:17, Herbert Ward a écrit :
The
width of the central peak ... increases as
the interval decreases, but I could not come up with any simple
mechanism
that would shift the maximum of the curve noticeably.
I verified this experimentally.
In other words, determining
Le 29 janv. 09 à 11:09, Anthony Hind a écrit :
Le 29 janv. 09 à 01:17, Herbert Ward a écrit :
The
width of the central peak ... increases as
the interval decreases, but I could not come up with any simple
mechanism
that would shift the maximum of the curve noticeably.
I verified
The variant border vs brouder, is exactly of the same sort as
that of French fromage vs fourmage (from M.L. formaticum, from L.
forma shape, form, mold), originally formage (something that is
shaped) giving also the regional variant Fourme. In other words it
is an easilly explainable
Le 28 janv. 09 à 05:04, David Tayler a écrit :
The vast majority of the early lutes had no body frets, and the high
notes can be easily and with a nice but distinctively different sound
played all the way up the B flat (imaginary fret 15) on the
soundboard..
Some lutes either show body
I suppose you are talking about the fact that the wooden frets are
fixed and may not correspond to the tuning that you are using,
or do you mean that there is a difference of tone with a wooden fret?
When I mentionned Stephen's having set my Baroque lute in 6th comma,
many people here
Anthony
Le 23 janv. 09 à 12:53, Anthony Hind a écrit :
I should have used TinyUrl, but you can copy the link into your
browser.
AH
Le 23 janv. 09 à 12:47, Anthony Hind a écrit :
Dear All
Miguel Serdoura sent me a link where samples of his Baroque
CD can be heard in reasonable quality
field does give more guitar
than lute recordings
http://www.jpc.de/jpcng/home/hitlist
Anthony
Le 2 janv. 09 à 20:24, Anthony Hind a écrit :
Dear All
I have just been informed that Miguel's lute CD is already out
of stock.
It should be possible to preorder here:
http://www.amazon.com
I should have used TinyUrl, but you can copy the link into your browser.
AH
Le 23 janv. 09 à 12:47, Anthony Hind a écrit :
Dear All
Miguel Serdoura sent me a link where samples of his Baroque
CD can be heard in reasonable quality.
http://www.jpc.de/jpcng/classic/detail/-/hnum/7946221
almost as
surprised to find that fruit was sold per unit.
Anthony
Le 23 janv. 09 à 13:02, Andrew Gibbs a écrit :
Anthony - what does this mean? Are CDs priced by the note now?
Andrew
On 23 Jan 2009, at 11:53, Anthony Hind wrote:
I wonder whether the cheap Brilliant version is up
, Anthony Hind rattled on the keyboard:
Oups sorry, that is a gallicism, (although it is ambiguous in French,
now you make me think about it). I have not completely acquired
French, and I have already lost much of my English, soon to be in an
interlingual no-man's land ...
Come to think about it, French
Oups
Le 23 janv. 09 à 18:32, Anthony Hind a écrit :
Well Taco, the question concerned the various realizations of the
Bis recording of Lindberg's Dowland, not Miguel's Baricade.
I leant that Brilliant does not make the Masters, but buys the
rights, so presumably they bought the rights
Of course there is the Cutting variation. It might predate Ballet, as
Cutting seems to have died around 1596, but the ms Add 31392 LBL
(presumably a copy) appears to be c. 1605. However, the same is
probably true of version in the Ballet ms. It would presumably
predate the ms date of
Is this the third one?
http://www.arkhipovskiy.com/video/kolechko.wmv
Anthony
Le 19 janv. 09 à 17:43, Alexander Batov a écrit :
Alexey Archipovsky is indeed quite amazing musician. For those who
don't know there are several of his full-time videos that are
available for download directly
Rob, After listening to you, I saw there were other ukulele players
listed, and I listened to one or two.
Some were virtuosi, and I might admire their skill, but it seemed
all flash and little music.
A couple of years ago, I went to a Hoppy concert organized by the
French guitar society.
There may be a couple of pieces for guitar, and guitar and voice, by
Maxwell Davies, I believe.
http://www.chesternovello.com/default.aspx?
TabId=2432State_3041=2workId_3041=11859
http://www.chesternovello.com/default.aspx?
TabId=2432State_3041=2workId_3041=11859
Anthony
Le 18 janv. 09 à
I suppose to the three hypotheses, mentioned in my previous message,
I should add something about the apparent success of demi-filé,
probably around the same time that swannecks became popular.
There are arguments about whether the extension on swan-necked lutes
had pure gut or demifilé, or
Dear Benjamin and Markus
Le 14 janv. 09 à 10:49, Markus Lutz a écrit :
Miguel has told me something about different barring of French
eleven course lutes and later baroque lutes. So that might also be
a difference of sound. Maybe others can say something on that.
Unfortunately I also
Message from Jean-Daniel Forget, remarques from Miguel Serdoura, and
an anecdote
Dear Ed and All
Jean-Daniel Forget:
I had a message from Jean-Daniel Forget, on the topic of the
fameux Corsaire, J-D says that in the 18th century the confusion
between corsaire (privateer) and pirate
of Saint-Louis. He died peacefully in 1736.
Anthony
Le 12 janv. 09 à 15:34, Anthony Hind a écrit :
I would think the most famous, and also the last French Corsair
would have been Surcouf:$
I found this about him in wikipedia (although I always treat this
source with caution, and I have
I forgot to say surely it must be Duguay-Trouin.
Anthony
Le 12 janv. 09 à 17:26, Anthony Hind a écrit :
Michel Cardin being both a French speaker and a specialist on
Weiss, of course I bow to his greater knowledge, but wasn't
Blackbeard a pirate, in modern French, Corsair is very much
Oh well, I just thought of searching specifically for Fameux
corsaire barbe Barbe Noire, and I found that things are less clear
than I fist thought.
In a text from figaro international, Barbe Noire is constantly called
pirate, le plus redoutable pirate, but it seems that he started
out
I would think the most famous, and also the last French Corsair would
have been Surcouf:$
I found this about him in wikipedia (although I always treat this
source with caution, and I have not counterchecked it)
Anthony
http://en.wikipedia.org/wiki/Corsair
Robert Surcouf
Robert Surcouf
was written 1720 or in the beginning of 1721.
Best regards
Markus
Anthony Hind schrieb:
I would think the most famous, and also the last French Corsair
would have been Surcouf:$
I found this about him in wikipedia (although I always treat this
source with caution, and I have
Quite so, but he is not a corsair, and wouldn't it still be likely to
refer to a French one?
Anthony
Le 12 janv. 09 à 19:08, Bernd Haegemann a écrit :
And why would Weiss use the French tittle for Blackbeard?
Pourquoi pas?
B.
I think that French was quite common in courtly circles, more
. The dates are close, so a slight shift for either
could make this impossible.
Fameaux Corsaire probably was written 1720 or in the beginning
of 1721.
Anthony
Le 12 janv. 09 à 17:43, Anthony Hind a écrit :
Duguay-Trouin
--
To get on or off this list see list information at
http
before
that date. Indeed, how else could there have been
a pirated version in 1730?
Nevertheless, had the pirated version been a little earlier, we could
be more certain that the fameux Corsair was Duguay-Touin.
Anthony
Le 12 janv. 09 à 21:15, Anthony Hind a écrit :
I made
Bernd
Oh well I am wrong again, however, the dictionnaire historique
Robert, defines it as someone who captures enemy merchant vessels.
often later confused with filibustier and pirate (it is true),
although they are denote quite distinct entities.
So it could denote, pirate, but it
Alexander
This carbon fibre honey comb sandwiched between wood has been
used for turntable plinths and speaker cabinets. This gives an
impression of a faster sound (the sound wave is diffused rapidly) and
transients are better presented, but usually there is a lack of
focus, a
strings. No wonder by the way the oud
makers jumped on it, the same way they accepted nylon strings
unquestionably...
alexander
On Sat, 03 Jan 2009 15:51:25 +0100
Anthony Hind anthony.h...@noos.fr wrote:
Alexander
This carbon fibre honey comb sandwiched between wood has been
used
is an important factor too.
From this point of view Miguel's reference is not sufficently complete.
Although, intuitively, I would guess the proportional values (not the
absolute ones) might not be completely wrong.
Le 3 janv. 09 à 17:05, chriswi...@yahoo.com a écrit :
Anthony,
--- Anthony
to communicate on this list.
Le 3 janv. 09 à 17:58, howard posner a écrit :
On Jan 3, 2009, at 8:47 AM, Anthony Hind wrote:
I agree with you, being able to damp strings does not mean that
you have to damp them all the time.
It is something to be kept in the panoply of the lute player. If
you
Dear All
I have just been informed that Miguel's lute CD is already out
of stock.
It should be possible to preorder here:
http://www.amazon.com/Baricades-Misterieuses-Miguel-Barockluta-
Serdoura/dp/B001LJL6ES/ref=pd_bbs_sr_1?
ie=UTF8s=musicqid30922859sr=8-1
Or later :
Le 2 janv. 09 à 20:24, Anthony Hind a écrit :
Dear All
I have just been informed that Miguel's lute CD is already out
of stock.
It should be possible to preorder here:
sorry about the broken link, please try this:
http://tinyurl.com/9c6qut
Or later : http://www.arkivmusic.com
His
Sorry like David, replied to the wrong list
Dear Chris and All,
According to Miguel Serdoura (p111-123) in his Baroque lute
method, there is one explicit mention of damping in Mace (1676). He
indicates the damping of a note with two small dots before it., and
calls this effect Tut.
is present throughout. 'le cabriolet' is about a
rollicking cab ride through paris; 'la poste' rhythmically
creates the rhythm of a galloping horse, but the drama unfolding is
the journey; from departure to arrival
à la fin.
Damian
Anthony Hind wrote:
Having just discussed the tempo of La
Dear Chris and All,
According to Miguel Serdoura (p111-123) in his Baroque lute
method, there is one explicit mention of damping in Mace (1676). He
indicates the damping of a note with two small dots before it., and
calls this effect Tut.
The tut is a Grace always with the Right
David, Miguel Serdoura's pages are 122-124, and not the ones I just
gave.
I am only forwarding the point of view expressed there. It would be
interesting to record a passage on a gut strung lute, following the
Miguel's dampling indications, testing how this sounds when the
basses are
on to say that without the presence of a
text, all speculation is possible.
Anthony
Le 30 déc. 08 à 11:16, Anthony Hind a écrit :
I agree that the gigue form, in French lute music could have
determined the degree of imitation possible when evoking the
tocsein. It might nevertheless
GIGUES).
Mathias
Anthony Hind anthony.h...@noos.fr schrieb:
Damian
Sonner le tocsin, meant roughly to ring a peal of warning
bells , but could also mean the bell used for such a warning.
This
would have come from earlier touquesain from Provencal
tocaseneh.
It seems that tocar
Dear Lutenists
In the last month I have received two excellent Baroque lute
CDs, that very nicely complement each other. Both contain music by
Kellner, but the pieces do not overlap, and while Ed Martin's CD also
contains music by Conradi, in Miguel Serdoura's CD there is music by
well
Damian
Sonner le tocsin, meant roughly to ring a peal of warning
bells , but could also mean the bell used for such a warning. This
would have come from earlier touquesain from Provencal tocaseneh.
It seems that tocar (or toquer), distantly related to touch,
comes from Latin toccāre
usually be chimed as loud and fast as possible in case of
emergency, was the gigue which bears that name supposed to be played
that way, too?
It's a sequel, so to say, of a short discussion that we had in
December
2003 (Re: binary and ternary GIGUES).
Mathias
Anthony Hind anthony.h...@noos.fr
Dear Martin and All
Le 22 déc. 08 à 10:33, Martin Shepherd a écrit :
Dear Anthony and All,
Just to answer a few things from your message:
If the evidence from surviving lutes is anything to go by, a double
first was common on 7 and 8c lutes. There is no reason to
associate this practice
Dan, I have very much enjoyed your explanations of how you came to
terms with the double top course, and how this improved your TO
technique. It gave me more hope actually, as I am struggling somewhat
with TO at present.
Le 21 déc. 08 à 19:37, Daniel Winheld a écrit :
No need to apologize
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