Hi!
LORD HERBERT of CHERBURY LUTEBOOK-new CD
I'm delighted to announce the release on the MMC label of "The Dark Lord's
Music", containing twenty of the finest works from Lord Herbert's Lutebook. It
is available to purchase online from most major sources-Amazon, Presto, HMV
etc, or direct
/index.html
Ed Durbrow
Saitama, Japan
http://www.youtube.com/user/edurbrow?feature=watch
http://www9.plala.or.jp/edurbrow/
edurb...@sea.plala.or.jp
--
Martin Eastwell Lute, Theorbo Guitar
Website: www.martineastwell.com
On 27/03/2012 12:12, Christopher Wilke chriswi...@yahoo.com wrote:
Martyn,
A related and by no means insignificant concern for performers is
what modern audiences expect to hear. What if the close-to-the-bridge
position implies that listeners back in the day expected a
Dear Chris/All
Certainly it is possible for close-to-the-bridge hand positions to give
brittle, nasally, banjo-y sound, but it does not have to be that way. I
recently gave a talk for the UK Lute Society on just this subject, and it
should be written up in the next issue of Lute News, so I won't
Hi!
Years ago, my copy of the London Pro Musica edition of Verdelot madrigals,
set for lute and voice by Willaert, disappeared. I don't think the promised
reprinted is yet available and the SPES facsimile is also out of print, but
I need a copy of Quanto sia liet' il giorno for a concert as soon
On 25/11/2011 23:14, Martin Eastwell eastwe...@mac.com wrote:
Hi Anthony
Having looked up Martin Shepherd's 2007 post from your link
http://www.mail-archive.com/lute@cs.dartmouth.edu/msg19978.html
I'm quite convinced by the Holborne and Cutting examples he gives-
Cutting, Galliard
Hi!
I've been checking up the information on Dentice and octave stringing to be
found in Adrian Le Roy A briefe and plaine Instruction... London 1574,
using the CNRS edition, as I don't have a full facsimile.
The info is on p36 of Vol 1, which states that it refers to f.41v of the
original. He
On 15/11/2011 20:43, Orphenica wer...@orphenica.de wrote:
Dear collective lute wisdom,
is it true that the production of gut in Europe will be prohibited by
European law?
As stated on Aquila's web page the production of gut strings and import
of raw materials will be prohibited:
My apologies for my last (empty) message-I pressed the wrong button!
It is certainly very bad news that Aquila has stopped gut string production.
Mimmo certainly deserves our heartfelt thanks for his heroic researches, and
I for one feel that the lute world in general could have been more
Hi!
Can anyone point me to a translation of the instructions to Reusner's
Erfeuliche Lauten-Lust? I have the facsimile, but my tame language expert
is out of action!
Many thanks
Martin
To get on or off this list see list information at
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Dear Franz
One really good song for bass voice can be found in the Stainer and Bell
Songs from Manuscript Sources volume 1. It is Most men do love the
Spanish wine. I recorded it some years ago, and both the singer and I
really enjoyed ourselves! At the same time, we also recorded the first song
and vocal ensembles of various sizes. The lute tutor is Martin
Eastwell.
Great music, great company, a beautiful location, comfortable
accomodation,and all at a very competitive price. All details are at
www.nwemf.org.uk, or contact me - eastwe...@mac.com - for more information.
Hope to see you
Hi!
Looking through Francesca Torelli's excellent theorbo tutor (published by Ut
Orpheus Edizioni), I was a little surprised by two of her recommendations
for right hand arpeggiation. She explains (p 23)the technique in which 4
note arpeggios, for example, are played p i m i, with the index
Sorry-just noticed an error in my post (near the end)!
The result is that the melodic move Bb-A is reversed.
For Bb-A, please read C-B!
Unless, of course, you play a theorbo in G!
Martin
On 28/2/10 21:38, Martin Eastwell eastwe...@mac.com wrote:
Hi!
Looking through Francesca Torelli's
I've always played this Capirola passage with my thumb stopping the Bb on
course 6. Also some passages in Newsidler and Francesco da Milano.
As Stephen says, it is a question of having the right 6 course, as this
technique is only possible on a narrow neck. Most modern makers who produce
copies
Hi!
A Google search on Conradi's name came up with this
http://www.the-orb.net/bibliographies/st-john_bib.html
44.
Author: Dithmar, Justus Christoph, 1677-1737.
Vertot, abbe de, 1655-1735.
Title:Geschichte des ritterlichen Johanniter-Orden : und
of
other cases. When I get time, I'll try setting Apple Mail up to access
my mail and see if it does any better!
Martin
On 12/1/10 13:32, Ed Durbrow edurb...@sea.plala.or.jp wrote:
On Jan 12, 2010, at 1:13 AM, Martin Eastwell wrote:
I've recently noticed that I seem
Hi!
I've recently noticed that I seem to be missing the original posts on a
number of threads. The giveaway is that I get a lot of messages beginning
with Re: but no sign of the original post. For example, the current thread
entitled Conradi Sonata. And yes, I've checked my spam box! Has anyone
If I remember correctly, Holbein in The Ambassadors painted a broken
string on the octave of the 4th course. One would naturally tend to depict
course one as broken, but of course the octave on the 4th course is only a
tone below course one. I assume Holbein was showing off his musical
knowledge,
If you zoom in, it seems that the lute has one or more carefully painted
broken strings. She's not just holding the lute the wrong way round, but the
lute itself is unplayable!
Martin
On 8/5/09 13:55, David van Ooijen davidvanooi...@gmail.com wrote:
On Fri, May 8, 2009 at 2:20 PM,
I believe that it is a problem with the way this PDF is generated. The PDF
format should embed the font in the document. I can't read this on my Mac,
though lots of other PDF's from the same site work fine.
Martin
On 22/2/08 22:58, Roman Turovsky [EMAIL PROTECTED] wrote:
Just checked on my
I have tried the clip several times with both Safari and Firefox on my Mac
without any problems.
Nice sound-I'd be interested to hear where the recorder/mics were placed,
also any info about the size of the room it was recorded (including ceiling
height!). It is usually very hard to record lutes
?
Just a sec, let me get my flame shield.
On Dec 17, 2007, at 7:19 PM, Martin Eastwell wrote:
I would tend to assume that a player like Dowland would not go off
on a
European tour having just made a major technical change.
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http://www9
? This happens with other lists that I subscribe to.
If this seems to go against the thoughts attributed to me in the quotes
below, (from Martin Eastwell rattled at the keyboard onwards), that is
because Taco wrote them, not me, as you will see if you look closely!
Best wishes
Martin
On 17/12/07 16:28
Dear All
At the moment, the discussion Re: RH on the bridge is split across the
main lute list and the baroque lute list. This happens all the time, and is
very confusing for most of us! Would we not be better off with a single
list?
As so often happens, the topic we are discussing strays from
. As an example, I have played
quite a number of 7-10 course lutes which have been set up with more space
between the courses than typical historical instruments. This can make thumb
under playing easier, but makes crossing strings much harder for the thumb
out player.
Martin (Eastwell)
On 15/12
), Talbot.
Your point about theobos and double stringing reminds me that perhaps I
should try it when my new one comes along!
Martin (Eastwell!)
On 15/12/07 13:25, Martyn Hodgson [EMAIL PROTECTED] wrote:
Dear Martin,
Your belief that thumb out is not used today ('discarded'), if I understand
), Talbot.
Your point about theobos and double stringing reminds me that perhaps I
should try it when my new one comes along!
Martin (Eastwell!)
On 15/12/07 13:25, Martyn Hodgson [EMAIL PROTECTED] wrote:
Dear Martin,
Your belief that thumb out is not used today ('discarded'), if I understand
-
From: David Rastall [mailto:[EMAIL PROTECTED]
Sent: 15 December 2007 15:51
To: Martin Eastwell
Cc: Martyn Hodgson; Martin Shepherd; Lute Net
Subject: [LUTE] Re: RH on the bridge?
On Dec 15, 2007, at 10:19 AM, Martin Eastwell wrote:
I
make a point of talking about historical RH
Exactly what is soundboard re-tensioning?
Martin
On 8/12/07 08:01, David Tayler [EMAIL PROTECTED] wrote:
Just retension the soundboard, and at the same time say which notes
you would like to better, and a skilled luthier can do this, and it
will sound better than a new one.
I have a
Dear Stewart
Someone early on in this thread suggested that Thomas Mace nowhere suggests
the use of the ring finger. In fact he does-p.101, in describing how to play
4 part chords (arpeggiated). He also says it is no longer fashionable. And
he does suggest resting the little finger below the
Dear Per
I do have the reference and a murky photocopy of this picture somewhere, but
can't find it at the moment-I'll look tomorrow, and send the info if I can
find it.The picture is by Antoine Pesne.
Martin
On 10/1/07 21:41, Martin Eastwell [EMAIL PROTECTED] wrote:
Dear Stewart
Someone
Vance-
I wonder if you have seriously experimented with playing this this
way? If you can stand big downloads, I will happily turn an old
recording of me playing F Da Milano (Ness 33) with just such a
technique, into an MP3, and send it to you (or anyone who is
interested)! If you know the
Howard-
I'm not sure that the iconographic evidence can be dismissed so
lightly. The lute was perhaps the principle solo instrument of this
period, and both painters and patrons (and even many artists models!)
would have known what good lute technique looked like. And some
models were
From: [EMAIL PROTECTED]
Subject:Re: [LUTE] Re: lute straps
Date: 4 May 2006 06:18:55 BDT
To: [EMAIL PROTECTED]
Dear Katherine
It is quite easy to play a typical six course lute standing up
without any sort of strap, but one needs to rethink the technique
used
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