Hello luters,
I have a copy here of the Schule fur Barock Laute by F.J.
Giesbert. It's a facsimile published by Schott, edition 3638. It's
cloth-bound, and in perfectly good condition, except for being no
longer new. The only date of publication I can see in it is 1940.
So presumably
I was talking to someone the other day about viol fretting,
specifically: using old strings as fret gut. Along with some
information on that, he sent me this quote from Dowland. He didn't
specify John or Robert:
therefore doe this; let the two first frets neerest the head of the
You guys know everything! Thanks for the information. Although I
have a copy of Varietie of Lute Lessons, I confess that I've never
read the introduction! At least not until now anyway.
Thanks again,
David R
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On Sep 5, 2011, at 6:57 PM, Mathias Rösel wrote:
Sorry, no pun intended, but what do you mean by musical?
Let me put it this way: I like to think of a piece of music as
telling a story. Any accomplished storyteller knows that a well-told
story has to have certain elements at work in it,
On Sep 6, 2011, at 4:22 PM, wikla wrote:
Well David, here is a story that fits to any slow baroque piece (it
was
originally told to me and a recorder player about 20 years ago by
Han Toll
in Urbino courses, the piece was by Hotteterre, if memory serves):
An old man is sitting in the
pretty well come up with a picture in my mind
as to how the other pieces in the suite should sound, but the
Allemande defeats me so far. Does anyone have any suggestions as to
how to approach this piece in order to make it sound as musical as
possible?
Thanks in advance
David R
To get
continuo theorbo. Does anyone know if these continuo
theorboes were single-strung?
David R
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On Sep 2, 2011, at 7:10 AM, Mathias Rösel wrote:
Or they can base their interpretation of 17th century French
baroque lute on
17th century sources and evidence to the best of their ability.
This is not a black-or-white thing, though. Yet I for one will
rather put
the weight on 17th century
On Sep 1, 2011, at 4:51 PM, Mathias Rösel wrote:
Denis Gaultier was so highly respected as lute player
and composer that the very text of his music was set down ... well,
yes,
once and for all. He doesn't serve as a model for those 17th century
liberties that you claim, I'm afraid.
Well
written.
Oh, and you'll be fined $250 for that false (or missing) information
in your Lacey Act Import Declaration.
I wonder if the current furor regarding illegally-supplied rosewood
and ebony might be a concern to lutemakers and their international
clients. Just saying...
David R
An article from today's Wall Street Journal:
http://online.wsj.com/article/
SB10001424053111904787404576530520471223268.html?
mod=WSJ_LifeStyle_Lifestyle_5
I wonder if the current furor regarding illegally-supplied rosewood
and ebony might be a concern to lutemakers and their international
On Jul 4, 2011, at 5:13 AM, corvo di bassetto wrote:
why would he (or she) not rather focus on the music? Especially
playing a repertoire which was primarily chamber music and not
meant to have an effect on people, ignorant ones in particular.
That's a bit harsh, isn't it Danyel? Do you
Lutes of mass distraction. Hah! I like that.
I think Ron was objecting to the use of lutespeak, which is a
particular form of double-talk peculiar to the lute community, where
such phraseology as reverse engineering has to be abstracted in
order to be understood. And thereby
On Jul 3, 2011, at 1:12 AM, howard posner wrote:
As far as I can follow it (and following it isn't easy) this entire
discussion about self-expression suffers from terminal
vagueness. What exactly are we talking about?...A discussion of
this sort really needs carefully defined terms or it
supress one's own emotional
expression?
D
RT
From: David R d_lu...@comcast.net
The term self expression can refer to the phenomenon of taking
a bunch of notes and makng music out of them.
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On Jul 3, 2011, at 9:38 AM, Roman Turovsky wrote:
No, these are 2 entirely unrelated insticts,
and ideally they produce great results, when combined in the same
individual.
That is not so common.
Ever wonder why it's not so common?
A powerful instinct for self expression, unsupported by
On Jul 2, 2011, at 8:36 AM, David van Ooijen wrote:
...I fail to see why we should stop at holding an
instrument that looks like a lute, and not care about how it sounds.
Art is a personal expression of universal value, but Western art music
is rather coded. I believe that for a player it
On Jul 2, 2011, at 12:50 PM, Mathias Roesel wrote:
...Music as a way of personal expression is a notion that didn't
develop until
the 19th century. Music to _raise_ fear, joy, anger, sadness,
tranquility
etc. has been composed since the invention of monody. But not music
that
expresses
On Jul 2, 2011, at 1:40 PM, Roman Turovsky wrote:
What Mathias meant is that self-expression did not become the
standard goal for all music
intil the 19th century.
Self expression certainly has existed ever since Froberger. Some,
like Zelenka, tried to control it, but it was coming out
On Jul 2, 2011, at 3:12 PM, David Tayler wrote:
2. I have never heard a recording of Dowland's Lachrimae consort
music
on instruments (violins, viols, lute) from 1603 (maybe there is
one,
would love to hear it)
Of these, the first is of course the most intriguing, but it is the
On Jul 2, 2011, at 4:27 PM, Mathias Roesel wrote:
We'll never know for sure, of course. But my guess is, as Roman
rightly put
it, that self-expression didn't become a standard goal until the 19th
century.
I disagree. I'm sure I can cite impassioned performances and
impassioned audiences
Thank you so much for all the info on medieval lute. Very
much appreciated!
One other question: what did they use for plectrums? I seem to
recall hearing somewhere that they used quills, or some kind of thin
bone-material. Any recommendations?
Thanks much in advance,
David
Hi luters,
I'm thinking of getting into a type of lute music I've never played
before, namely medieval lute. Problem is, I don't know where to find
the music. Are there sources specifically for medieval lute, or does
one simply have to just know what music to play based on knowledge
of
On May 31, 2011, at 10:08 AM, Martyn Hodgson wrote:
Also see my correspondance with Bailes in recent issues of Lute
News on
the sizes of French lutes c.1670: the evidence (iconography, early
measurements - especially the Talbot MS, extant instruments)
indicates that a string
On May 28, 2011, at 9:05 AM, Ron Andrico wrote:
To All:
We have the second in our series of Saturday morning quotes,
Dowland on
singing.
[1]http://mignarda.wordpress.com/
Ron Donna
Clearly, from this quote, the roots of the can belto style of
singing go back prior to
Hi Luters,
Does anyone know anything about a lute maker named EM Beyleriam?
Thanks,
David Rastall
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Hi Luters,
Does anyone know anything about a lute maker named EM Beyleriam?
Thanks,
David Rastall
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Hello luters,
Just a note to tell you that my Lawrence K. Brown 13-course Baroque
lute is now up on Wayne's Lutes for Sale page.
If anyone's interested, please don't hesitate to call (301-378-2278)
or e-mail (d_lu...@comcast.net).
Best,
David Rastall
To get on or off this list see
Hello lute-listers,
In case anybody might be in the market for a good (Lawrence K. Brown)
nine-year old 10-course lute, mine is now on the market. You can see
the ad on Wayne Cripps's Lute Page. I'm concentrating pretty much on
the Dm lute these days, so...anybody interested, pleae get
Both selections: very nice! I like the way the Palestrina works as
a lute song.
DavidR
On Jul 5, 2010, at 7:42 PM, Ron Andrico wrote:
To all:
We would like to share this performance of Palestrina's motet,
Sicut
cervus for solo voice and lute, recorded in our favorite venue,
Helloeveryone!
A friend of mine is trying to find a recording of an air de court:
Sombres forest, noires vallees by Jean Boyer.
Can you good folks think of anyone who might have made a recording of
that piece?
Best,
David Rastall
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I think it came into use with the Venetian lutenists from 1500 or
so. Obviously you can't use rest strokes when you're playing thumb-
index diminutions, and you don't want to be damping the string
directly below your thumb if it's supposed to be sounding, but as a
general rule I think that
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