Thanks, Dan.
Normally I tune these lutes (67cm)in F (you can think of it, as I
usually do, as g' at a'=392) - but I find they are often just as happy a
semitone lower (i.e. top string e' at modern pitch).
This particular lute has gone, but I will be playing some pieces on my
old 7c lute -
:56 PM
Subject: [LUTE] Re: new piece of the month
Thanks, Goeran.
We have debated on this list before the virtues or otherwise of
live
performance-type recordings as opposed to perfect commercial
CD-type
recordings.
I don't like to hear blemishes (especially my own!) but at the same
Finally got to hear this- lots of applause, floor stomping, whistles,
Encores! from the audience. That big, low sound- (F, A=415 ?)
-all gut, like big bites of dark chocolate. Yummy delicious. Much
like my Larson only deeper. Fine playing too; perfect pacing,
impeccable phrasing, full solid
editor as well as a generous sharer of music and
knowledge. In
short a compleat lutenist.
Cheers!
G.
- Original Message -
From: Martin Shepherdmar...@luteshop.co.uk
To: Lute Listlute@cs.dartmouth.edu
Sent: Friday, April 08, 2011 12:56 PM
Subject: [LUTE] Re: new piece of the month
as a generous sharer of music and knowledge. In
short a compleat lutenist.
Cheers!
G.
- Original Message -
From: Martin Shepherdmar...@luteshop.co.uk
To: Lute Listlute@cs.dartmouth.edu
Sent: Friday, April 08, 2011 12:56 PM
Subject: [LUTE] Re: new piece of the month
Thanks, Goeran.
We
Cool Martin!
Did you record it all in one go or weed out mistakes in audacity afterwards?
You seem to be quite unique in the lute community in that you BOTH build
excellent lutes as well as being a very sensitive and able player.
Kind regards
G.
- Original Message -
From: Martin
Thanks, Goeran.
We have debated on this list before the virtues or otherwise of live
performance-type recordings as opposed to perfect commercial CD-type
recordings.
I don't like to hear blemishes (especially my own!) but at the same time
I don't want to spend hours editing out every single
Sent: Friday, April 08, 2011 12:56 PM
Subject: [LUTE] Re: new piece of the month
Thanks, Goeran.
We have debated on this list before the virtues or otherwise of live
performance-type recordings as opposed to perfect commercial CD-type
recordings.
I don't like to hear blemishes (especially my
Yes, that is very clear Martin. Well done!
ed
At 05:56 AM 4/8/2011, Martin Shepherd wrote:
I hope I have shown that gut strings can be used to good effect.
Edward Martin
2817 East 2nd Street
Duluth, Minnesota 55812
e-mail: e...@gamutstrings.com
voice: (218) 728-1202
Another luthier who is a wonderful player is Andrew Rutherford.
Did you record it all in one go or weed out mistakes in audacity
afterwards? You seem to be quite unique in the lute community in
that you BOTH build excellent lutes as well as being a very
sensitive and able
an
excellent editor as well as a generous sharer of music and knowledge. In
short a compleat lutenist.
Cheers!
G.
- Original Message -
From: Martin Shepherd mar...@luteshop.co.uk
To: Lute List lute@cs.dartmouth.edu
Sent: Friday, April 08, 2011 12:56 PM
Subject: [LUTE] Re: new
Very lovely sound and playing, Martin. The difference between a 59cm string
length lute and 67cm lute is, perhaps, similar to the difference between a baby
grand and a concert grand piano, yes? But for the player, the concert grand
keyboard is essentially the same as the baby grand; for the
.
Cheers!
G.
- Original Message -
From: Martin Shepherdmar...@luteshop.co.uk
To: Lute Listlute@cs.dartmouth.edu
Sent: Friday, April 08, 2011 12:56 PM
Subject: [LUTE] Re: new piece of the month
Thanks, Goeran.
We have debated on this list before the virtues or otherwise of live
performance
have added an
excellent editor as well as a generous sharer of music and
knowledge. In
short a compleat lutenist.
Cheers!
G.
- Original Message -
From: Martin Shepherdmar...@luteshop.co.uk
To: Lute Listlute@cs.dartmouth.edu
Sent: Friday, April 08, 2011 12:56 PM
Subject: [LUTE] Re: new
Very beautiful played Martin. Great lute sound too.
Gilbert
http://users.telenet.be/gilbert.isbin/contents.html
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On 05/03/2011 11:32, Stuart Walsh wrote:
Very nice playing. Gutsy, as it were! You're playing quite freely?
Thanks, Stuart - and thanks for the Youtube advice.
Yes, I feel a certain freedom is called for in a prelude, which should
probably sound as though it is being improvised. In fact
Dear All,
(Stuart, I hope you don't mind me sharing this with the list, but I
think this might be of interest to everyone)
Pavans are tricky. Viol players always seem to play them too fast
(presumably because their parts have no written out divisions on the
repeats) and lute players have a
Very beautifully played. Thank you! The new owner should be delighted.
On Feb 15, 2011, at 5:00 AM, Martin Shepherd wrote:
Dear All,
I'm finally catching up with myself! Before the new lute went off to its new
owner I managed to make several hasty recordings, so this is the same lute as
Thanks for your comments, Dan. Just a few random thoughts of my own:
The business of different sizes of lute is interesting. One thing is
clear - you get used to whatever you are playing at the moment, and when
you change to a different lute (shorter or longer) it seems strange at
first.
Lovely playing, lovely sound.
The business of different sizes of lute is interesting. One thing is clear
- you get used to whatever you are playing at the moment
So true.
My extremes are a 54cm 6-course and a 78cm 10-course. When ordering
these (together) from Stephen Sandi I think I asked
is that in this period there was no
one general purpose size - it depended on time and place (and
composer).
Martyn
--- On Tue, 1/2/11, Martin Shepherd mar...@luteshop.co.uk wrote:
From: Martin Shepherd mar...@luteshop.co.uk
Subject: [LUTE] Re: new piece of the month
To: Daniel Winheld
@cs.dartmouth.edu
Envoyé le : Mar 1 février 2011, 11h 01min 11s
Objet : [LUTE] Re: new piece of the month
Thanks for your comments, Dan. Just a few random thoughts of my own:
The business of different sizes of lute is interesting. One thing is clear -
you get used to whatever you are playing
: lute@cs.dartmouth.edu
Envoyé le : Mar 1 février 2011, 11h 01min 11s
Objet : [LUTE] Re: new piece of the month
Thanks for your comments, Dan. Just a few random thoughts of my own:
The business of different sizes of lute is interesting. One thing is clear -
you get used to whatever you are playing
Thanks, all, for an informative discussion of lute sizes and their relative
merits. For me, at least, things I hadn't realized or even thought about.
On Jan 31, 2011, at 7:44 PM, Daniel Winheld wrote:
Awesome indeed- Martin's got the best one-stop operation for
everything lute anywhere.
Hello Martin,
Gorgeous playing lute! I love the C36, I've always thought the
mensur overall proportions to be ideal for a late 16th century lute.
Best,
Tom
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To get on or off this list see list information at
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: Thomas Walker twlute...@hotmail.com
A : mar...@luteshop.co.uk; lute@cs.dartmouth.edu
Envoye le : Lun 31 janvier 2011, 22h 18min 34s
Objet : [LUTE] Re: new piece of the month
Hello Martin,
Gorgeous playing lute! I love the C36, I've always thought the
mensur overall
I'm sure Tom is much more familiar with historical lutes than I am. But I'll
accept that he's right about the ideal nature of these proportions. The sound
Martin gets from it would certainly support that view. Having owned a lute
with 64cm string length for a while, I must admire anyone who
CC: mar...@luteshop.co.uk; lute@cs.dartmouth.edu
From: nedma...@aol.com
Subject: [LUTE] Re: new piece of the month
I'm sure Tom is much more familiar with historical lutes than I am.
But I'll accept that he's right about the ideal nature of these
proportions. The sound
Ed all,
Actually, the bit about proportions was more of a personal statement.
The Venere is somewhere in between some of the very slender Maler lutes
and other far more rotund shapes, which I like. The practical demands
of playing with others usually means one has a lute good for
Awesome indeed- Martin's got the best one-stop operation for
everything lute anywhere.
67 cm. for a Renaissance lute ought to be a fine size. I owned a
72cm. 8 course Division Bass lute in E (A fluctuating between 415
and 430) for years- the acid test for my left hand was the F chord (A
flat
On 30/01/2011 16:18, Martin Shepherd wrote:
Dear All,
With one day to go, here is January's piece of the month:
www.luteshop.co.uk/month/pieceofthemonth.htm
- played on a new all-gut strung 7c lute (67cm, after Venere C36). I
hope you like it.
Best wishes,
Martin
Great! Lovely
Thanks. The 5th, 6th and 7th are in octaves. The 5th is a Larson
pistoy, the 7th is a Larson gimp, and the 6th is a simple high-twist
string of unknown origin which is actually the best of the three! All
the other strings are ordinary low twist strings from Sofracob, except
the
Most exceptional thank you, Martin!
Mathias
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
Auftrag von Martin Shepherd
Gesendet: Sonntag, 30. Januar 2011 17:19
An: Lute List
Betreff: [LUTE] new piece of the month
Dear All,
Very nice, Martin! Exceptional piece of music, too. The long
stringlength works nicely with the arpeggios
I saw a microfilm of this many years ago and it was very difficult to
read (washed out, most of the rastering was missing). Later, I saw the
excerpt on the cover of Anthony Rooley's
Happy Birthday, Sean!
The MS in question, formerly known as the Cosens Lute Book, should
probably be called the CK Lute Book, as these initials appear at the
ends of several pieces otherwise known to be by a different composer. I
have a partly-illegible photocopy, and it would indeed be nice
Lovely, Martin. I really like the strings, in addition to the nice
sounding lute. Beautifully played as well!
ed
At 10:18 AM 1/30/2011, Martin Shepherd wrote:
Dear All,
With one day to go, here is January's piece of the month:
www.luteshop.co.uk/month/pieceofthemonth.htm
- played on a
A while back Denys Stephens and Chris Goodwin both told me that the
next things in line to be published as facsimiles were Cambridge
manuscripts. Since Denys is on the list he will probably chime in with
some info on future plans.
Nancy
Very nice, Martin! Exceptional piece of
I enjoyed it all; the music, the playing, and the instrument. Thanks for
posting.
-Ned
On Jan 30, 2011, at 11:18 AM, Martin Shepherd wrote:
Dear All,
With one day to go, here is January's piece of the month:
www.luteshop.co.uk/month/pieceofthemonth.htm
- played on a new all-gut
Dear Martin,
It's always nice to see Francesco in different readings. And there are many
to chose from.
Just a few comments as a postscript for your posting. The title of No. 4
is
simply Recercata. Ser zimlich is a comment added by a hand and pen
distinctly different from that of the
Thank you, Martin! Your playing is lovely, and I very much enjoyed
this . Thanks!
ed
At 09:43 AM 1/9/2011, Martin Shepherd wrote:
Hi All,
The new piece of the month might be (!) by Francesco da Milano - and
I've added another previously unknown concordance for Ness 75
(thanks to John
Hi Alan,
There's no universal meaning, but in this manuscript it seems to be a
hold sign. One or more of P.P.Borrono's printed books uses a double x
for the same purpose.
All the best,
Martin
On 09/01/2011 17:18, Alan Hoyle wrote:
Sorry to take more of your time, Martin -
Hello Martin:
Very nice performances of the Francesco pieces. Some years ago on this
list, I pointed out that N 75 bears a strong resemblance to the
(unfortunately corrupt) 'Fansye' on page 235 of the Marsh ms. Has
anyone else noticed this?
Best wishes,
Ron Andrico
Thanks, Ron. In fact it was you who drew my attention to the connection
when I published the Marsh piece as a piece of the month in April 2008
with thanks for your contribution. So now we have another connected
piece - though the connection is much stronger with the CH piece, which
is
The Fantasia de Lopez in Madrid 6001 also has the same beginning.
- Original Message -
From: Martin Shepherd mar...@luteshop.co.uk
To: Lute List lute@cs.dartmouth.edu
Sent: Sunday, January 09, 2011 4:29 PM
Subject: [LUTE] Re: New piece of the month + FdaM update
Thanks, Ron. In fact
The three may be parodies of the same vocal model.
- Original Message -
From: A. J. Ness arthurjn...@verizon.net
To: Martin Shepherd mar...@luteshop.co.uk; Lute List
lute@cs.dartmouth.edu
Sent: Sunday, January 09, 2011 4:43 PM
Subject: [LUTE] Re: New piece of the month + FdaM update
: Sun, 9 Jan 2011 21:29:48 +
To: lute@cs.dartmouth.edu
From: mar...@luteshop.co.uk
Subject: [LUTE] Re: New piece of the month + FdaM update
Thanks, Ron. In fact it was you who drew my attention to the
connection
when I published the Marsh piece as a piece of the month
Do it again and this time throw in a few more. Sounded damn good to
me. Better yet- EDIT some bloopers in! Wouldn't that be what's called
reverse engineering?
I forgot to say, I threw in a few bum notes just to keep everybody happy
Martin
--
To get on or off this list see list
Thank you, Martin; very nice indeed!
On Nov 8, 2010, at 12:47 PM, Martin Shepherd wrote:
Hi All,
Same all-gut strung lute as last time, another gem by Anon:
www.luteshop.co.uk/month/pieceofthemonth.html
I hope you enjoy it,
Martin
To get on or off this list see list
I liked your description of Matthew Holmes' use of the sharp sign.
I have spent some time lately with Dd.9.33 and Holmes has written a lot
of notes on lines instead of between the lines. In almost all of the
places the note is on the line below the space it belongs in, so
perhaps
On 16/10/2010 16:34, Martin Shepherd wrote:
With apologies for the long gap in this series, a new piece of the
month has finally escaped from my music room, played on a new lute
after Maler (67cm) strung entirely in gut.
http://www.luteshop.co.uk/month/pieceofthemonth.htm
You'll want to
Very nice Martin
IMO this has a quite some resemblance to that other VW dump O'Dette made
famous
KUTGW
G.
- Original Message -
From: Martin Shepherd mar...@luteshop.co.uk
To: Lute List lute@cs.dartmouth.edu
Sent: Saturday, October 16, 2010 5:34 PM
Subject: [LUTE] new piece of the
Thank you, thank you for this piece. I have been fascinated with it for
quite a while and about a year ago asked the list if anyone knew where
to find it. Ron Andrico got back to me with a link to the music, which
he has on his web site. So now what is really interesting is the
Very nicely played and ornamented. Pictures of that lute???
On Oct 17, 2010, at 12:34 AM, Martin Shepherd wrote:
With apologies for the long gap in this series, a new piece of the
month has finally escaped from my music room, played on a new lute
after Maler (67cm) strung entirely
that way, but I have it up my
sleeve for when it seems the best option.
Best wishes,
Stewart McCoy.
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: 20 June 2008 22:50
To: lute-cs.dartmouth.edu
Subject: [LUTE] Re: New piece of the month for June
Gee what
Really beautiful, Martin. A fine piece and very fine playing. Isn't the
Internet a wonderful thing when used positvely and creatively? And what a
wonderful resource your website is already, with more to come. Keep up the
good work!
Rob McKillop
2008/6/20 Martin Shepherd [EMAIL PROTECTED]:
Dear
Dear Martin,
Once again, a very beautiful piece and exquisitely played. Tell me, how did
you finger the chord on the third beat of measure thirty-eight? Did you hold
down the notes on the second and third strings with the second finger amd
use the third finger on the fifth string (which I
Thanks, Bernd - I thought of our previous conversation about this piece
when I chose it - it seemed so obvious that I should publish it, with
the evidence of its derivation from the motet.
The lute is my old Gerle, made in 1985, string length 60cm, strung
entirely in gut with a Larson Pistoy
Gee what an annoying chord that is.
I have seen people play all four strings, that is two courses, with
the tip of one finger.
My finger is not wide enough.
I accept this as more or less unchangeable, unless I go to a really
narrow spacing.
Thanks for the lovely edition.
dt
Stephen Arndt
Hi, again,
I just took the time to read this through, and I had a similar experience to
Rob's in Turkey when I played with traditional Cambodian musicians here in
America, though there was no score and the variations and ornamentations (as we
would call them) on the basic tune (as we would call
On Mar 9, 2008, at 7:31 AM, Arthur Ness wrote:
There are
contracts with printers that indicate in the 16th century the
usual press
run for a book of lute music was about 1250-1500 copies. And
when you look around for surviving copies, how many are there?
Usually about a half dozen. More
Martin
I am just back from a trip to England, and I am very pleased to see
and hear the new piece of the month along with the tab, as usual so
sensitiviely played; and giving me the desire to attempt to play it
myself.
Best regards
Anthony
Le 29 avr. 08 à 15:00, Martin Shepherd a écrit :
Got your new Gottlieb 11c, Anthony?
Rob
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Dear Rob:
Sorry for the delay in response to your comments. I wish I had more time.
I'll try to offer some clarity to my prior post.
1. How can you say that you 'can state this without reservation' that
'everyone in the sixteenth century who was fortunate enough to lay hands on
a lute
copies to
amateur players without formal musical skills.
Best wishes,
Denys
-Original Message-
From: Ron Andrico [mailto:[EMAIL PROTECTED]
Sent: 01 May 2008 14:30
To: Rob MacKillop
Cc: Lute Net
Subject: [LUTE] Re: new piece of the month
Dear Rob:
Sorry for the delay in response to your
Or exactly the opposite- that the ability to sing was far from prevalent.
RT
- Original Message -
From: Denys Stephens [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Thursday, May 01, 2008 9:46 AM
Subject: [LUTE] Re: new piece of the month
Dear Ron,
Just a short note in support
and in
public places today. Music was even more important 500 years ago, only it was
played by real people as a part of daily life.
Best wishes,
Ron Andrico
www.mignarda.com
Date: Thu, 1 May 2008 10:33:02 -0500 CC: Lute@cs.dartmouth.edu From: [EMAIL
PROTECTED] Subject: [LUTE] Re: new piece
]
Gesendet: Donnerstag, 1. Mai 2008 18:06
An: The Other
Cc: lute@cs.dartmouth.edu
Betreff: [LUTE] Re: new piece of the month
To All:
Without getting too tedious or serious about this subject, it seems people
are missing a major point: Everyone who was educated in the 16th century was
educated in music
On Thu, 1 May 2008, The Other wrote:
What ever happened for the quest to sing/play the one perfect note?
Or maybe that's a modern quest. Just musing...
The Other Stephen Stubbs
Even today Ned Rorem tried; one note just does not cut it. Besides, the
main problem with a lute is that it
Mark wrote...
Even today Ned Rorem tried; one note just does not cut it. Besides, the
main problem with a lute is that it lacks a leg that shines.
Are we leading on to the cello-pin thread again?
Best Wishes
Ron (UK)
To get on or off this list see list information at
Sorry, I should have attributed this to Peter N.
Even today Ned Rorem tried; one note just does not cut it. Besides, the
main problem with a lute is that it lacks a leg that shines.
Are we leading on to the cello-pin thread again with this one?
Best Wishes
Ron (UK)
To get on or off this
This is an interesting subject. I have to own up and say it was me who asked
Martin why there were no twiddles in his performance. I didn't mention it on
the list in case it came across as criticism, which of course it isn't. I
thank Martin for bringing the subject to the list.
Please excuse me
in Capirola's book should !
really be a starting place.Best wishes,
Ron Andrico
www.mignarda.com
Date: Wed, 30 Apr 2008 10:40:03 +0100 To: [EMAIL PROTECTED] CC:
lute@cs.dartmouth.edu From: [EMAIL PROTECTED] Subject: [LUTE] Re: new piece
of the month This is an interesting subject. I have to own
Dear Ron,
I'd like to thank you, in turn, for your thoughtful reply. If I take issue
with one or two points, it is nothing personal - I'm just thinking out loud.
1. How can you say that you 'can state this without reservation' that
'everyone in the sixteenth century who was fortunate enough to
On Apr 30, 2008, at 7:12 AM, Ron Andrico wrote:
When singing part music, a singer only had one part to read, and
did not have the luxury of scanning the complete score to see where
he or she could add bits here or there.
Neither does the first oboe player in an orchestra playing Handel
Zarlino, in _Istitutioni harmoniche_, 1558, wrote: Matters for the singer
to observe are these: First of all he must aim diligently to perform what
the composer has written. He must not be like those who, wishing to be
thought worthier and wiser than their colleagues, indulge in certain rapid
On Apr 30, 2008, at 10:56 AM, Rob MacKillop wrote:
2. The important part of your useful Zarlino quotation, for me at
least, was
'progressions absolutely intolerable in composition'. This clearly
divides
the matter into two seemingly polar camps: Performance Practice and
Compositional
On Apr 30, 2008, at 2:22 PM, Ron Fletcher wrote:
I wish the modern-day RB singers would take this to heart. They
never hold
a note and sing every possible note around it instead! My friends
say it is
merely interpretation and ornamentation. I beg to differ...The
twiddly-bits
are
Beautiful, Martin, and very sensitively played!
Rob
2008/4/29 Martin Shepherd [EMAIL PROTECTED]:
Dear All,
In the nick of time, before April turns into May, there is a new piece of
the month: www.luteshop.co.uk/month/pieceofthemonth.htm
Do let me know what you think - sending parcels off
Dear Martin all:
Thanks for posting this fantasia from the Marsh book, and I like the way you
have repaired the funny bits. I have chosen this fantasia several times as a
quiet interlude for communion when playing for church services, just repeating
or extending as necessary. If it sounds
Thanks you, Martin: beautiful. With tablature and performances like this,
would you consider remaining in the 16th century for a good few more years,
please?
Alan
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: Lute Net lute@cs.dartmouth.edu
Sent: Tuesday, April 29,
Dear Ron and All,
Thanks for pointing out the cognate - I wasn't familiar with Ness 75.
It does, however, reinforce my impression that the Marsh piece is
probably an intabulation of a vocal piece, and Ness 75 is yet another
example of a piece which makes use of thematic material from a vocal
, 29 Apr 2008 22:04:10 +0100 To: [EMAIL PROTECTED];
lute@cs.dartmouth.edu From: [EMAIL PROTECTED] Subject: [LUTE] Re: new piece
of the month Dear Ron and All, Thanks for pointing out the cognate - I
wasn't familiar with Ness 75. It does, however, reinforce my impression that
the Marsh piece
Geez I paid $15 for mine. I can't remember when it was, before the
internet I think.
Moe's books, on Telegraph ave in Berkeley.
DT
The HUP Francesco edition comes around now and then. About
$US200 seems to be the going price. Beware there is the Books
on Demand reprint that you can
.
=AJN (Boston, Mass.)=
- Original Message -
From: Jean-Marie Poirier [EMAIL PROTECTED]
To: lute lute@cs.dartmouth.edu
Sent: Sunday, March 09, 2008 5:57 AM
Subject: [LUTE] Re: New piece of the month
| Thank you very much, Arthur, for your excellent explanations
about concordances
real value.
=AJN (Boston, Mass.)=
- Original Message -
From: Jean-Marie Poirier [EMAIL PROTECTED]
To: lute lute@cs.dartmouth.edu
Sent: Sunday, March 09, 2008 5:57 AM
Subject: [LUTE] Re: New piece of the month
| Thank you very much, Arthur, for your excellent
, 2008 11:31 PM
Subject: [LUTE] Re: New piece of the month
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Sent: Thursday, March 06, 2008 3:37 AM
Subject: Re: [LUTE] New piece of the month
| Dear Arthur
Subject: Re: [LUTE] New piece of the month
| Dear Arthur,
|
| Thanks - I thought you might be interested! I had not realised
it was
| in Mertel as well, and now I look at it and it raises another
| interesting question, because the Mertel text is practically
identical
| to Hirsch - where did
- Original Message -
From: Martin Shepherd [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]
Cc: Lute Net lute@cs.dartmouth.edu
Sent: Thursday, March 06, 2008 3:37 AM
Subject: Re: [LUTE] New piece of the month
| Dear Arthur,
|
| Thanks - I thought you might be interested! I had
Dear Arthur,
Thanks - I thought you might be interested! I had not realised it was
in Mertel as well, and now I look at it and it raises another
interesting question, because the Mertel text is practically identical
to Hirsch - where did they both (20 years apart and in different
countries)
All very nicely played and recorded, but what an excellent idea to
give us the two 'French' tabalatures in parallel and separately. I
think a number of us will be trying these two variants, under the
guidance of you model playing.
I must get a wifi link to be able to transport my computer.
Well done. Very nice indeed. You're going to build up quite a library of
scores and sound files over the coming decades. Keep at it!
Rob
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Dear Martin,
That is an interesting pair of works that you published. The
Hirsch version is the same as a fantasia (or fuga--the titles are
not specific for each piece) in Elias Mertal, _Hortus Musicalis
Novus_ (Strasbourg 1615), No. 79 (pp. 222-3). Probably the
proper
title is Fuga. I have a
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