is a factor and whether you choose a low F or not.
But at 170 cm you should get enough sound, so it is then the break in
time or the way the soundboard is registering the low notes.
For continuo I have to have a low F.
BUT
Those low theorbo gut strings really need quite a while to settle
. In fact this was to such an extent that a person
who plays my lute regularly thought I had changed the bass string too.
Regards
Anthony
Le 23 oct. 07 à 23:24, Nigel Solomon a écrit :
I have just put gut strings on the long basses on my theorbo (170
cm), they all sound great except the 13th
it, it sounds
better. With a major change in string material, a change in your
perception of clarity of sound will come.
My 2 cents worth.
ed
At 11:24 PM 10/23/2007 +0200, Nigel Solomon wrote:
I have just put gut strings on the long basses on my theorbo (170 cm),
they all sound great except
My theorbo is 85/170, I'm thinking of putting 5 kg string (the 4.2 I
have at present seems a bit low). How much tension do people put on
their large theorbos?
My idea would be to put 5 kg for 440 and keep the same strings for 415
(which would give around 4.5 kg), which is the pitch I keep
Hi,
These are the tensions i use on my theorbo (83/167) - hope that helps. I
calculated the strings for 440 but use the same strings for 415 and actually
prefer the instrument in 415 with these strings on.
Anyway, you might want to check with your lute maker - i am pretty sure that
on my
Theorbo by Martin de Witte 2006 for sale
Vihuela by M. Fedchenko 2006 for sale.
Solid good instruments, come with hard cases.
Please contact me for more information. Anton Birula
Choose the right car
I've added an introductory overview of the German Continuo Theorbo to my
website. Does anyone play this instrument, or with this tuning?
Rob MacKillop
www.rmguitar.info
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Sent: Saturday, July 28, 2007 9:46 AM
Subject: [LUTE] German Continuo Theorbo
I've added an introductory overview of the German Continuo Theorbo to my
website. Does anyone play this instrument, or with this tuning?
Rob MacKillop
www.rmguitar.info
--
To get on or off this list
I know baroque lute players who play
continuo on their instruments, does that qualify?
No...related, maybe, but I'm really looking for chanterelle-less dm tuning
for continuo.
Rob
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July 2007 10:40
To: [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Subject: [LUTE] Re: German Continuo Theorbo
Tim Burris, when in The Hague, was doing it. Benjamin Narvey, who wrote the
article in the LSA about it, does it. I know baroque lute players who play
continuo on their instruments, does
[EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Saturday, July 28, 2007 8:18 AM
Subject: [LUTE] Re: German Continuo Theorbo
It would also be of interest to locate a solo song repertoire from Weiss's
time. Any guidance? Any recordings? Just solo voice and continuo bass.
And a reference
You might also want to look in Max Friedlander's Das Deutsche Lied, which
should be at QMC lib.
RT
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Saturday, July 28, 2007 8:29 AM
Subject: [LUTE] Re: German Continuo Theorbo
On Jul 28, 2007, at 3:46 AM, Rob wrote:
I've added an introductory overview of the German Continuo Theorbo
to my
website. Does anyone play this instrument, or with this tuning?
Hi Rob et al.,
I have one of those large Edlinger 13c instruments: 75.5 x 83cm.
I've thought about using
At 10:44 -0400 28/7/07, David Rastall wrote:
Another question is: Do you think that 83cm at the bass rider is
long enough to use single bass stringing?
Only with modern overwound strings!
David
--
The Smokehouse,
6 Whitwell Road,
Norwich, NR1 4HB
England.
Telephone: + 44 (0)1603
Am 4 Jul 2007 um 10:55 hat Arthur Ness geschrieben:
What is needed is a central clearing house (like
Magnatunes for CDs) for these
specialized lute publications being issued by the
societies, and persons like Dick Hoban, Albert Reyerman,
Andi Schlegel,
Richard Darsie et al.
Hi Arthur,
to the World Catalogue:
http://worldcat.org/searchbox/searchbox.jsp?ai=Arthur_Arthur_Ness
AJN.
- Original Message -
From: Stephan Olbertz [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Monday, May 21, 2007 4:03 AM
Subject: [LUTE] Re: Holborne, was Theorbo tutor
Dear Stewart,
you are right
I would like to confirm as I fly very often with the theorbo with the
extra seat, that few of my theorbos will fit in in either the budget
planes or the new fuel efficient models that also have a lower
overhead compartment. It is a real problem.
dt
At 02:44 AM 6/26/2007, you wrote:
Dear All
Dear All,
I apologise for the blatant advertising but some of you may be
interested in seeing the folding theorbo I have recently made for
Lynda Sayce, which is designed to pack up small enough to fit into a
standard airline seat.
http://www.vanedwards.co.uk/40a.htm
This has been a long time
Dear David,
Now will your next theorbo be made out of mylar? We
had that wonderful exhibition of 129 guitars at the
Museum of Fine Arts here in Boston. 140,000
people saw the exhibition. You've probably seen the
book based on it, Dangerous Curves, by Darcie
Kuronen, the curator
Anyway
Well done! But scary pics as well ...
Martin de Witte, lute maker from the Netherlands, has made something similar
for an ex-student of mine, Hank Heijink, some years ago. He flies with it
around the world. And years before that Toyohiko used to have a theorbo that
didn't fit into his
sportscar
at fifth and
seventh 'fret' positions, a very convenient visual aid, as a shamisen
doesn't have frets. Just likes David van Edwards' foldable theorbo, the
strings are kept at bridge and pegs for greater convenience and longevity.
David
- Original Message -
From: David Van Edwards [EMAIL
Dear David,
Thanks for sharing this - it's fantastic!
Martin
David Van Edwards wrote:
Dear All,
I apologise for the blatant advertising but some of you may be
interested in seeing the folding theorbo I have recently made for
Lynda Sayce, which is designed to pack up small enough to fit
hairlines exactly at fifth and
seventh 'fret' positions, a very convenient visual aid, as a shamisen
doesn't have frets. Just likes David van Edwards' foldable theorbo, the
strings are kept at bridge and pegs for greater convenience and longevity.
David
--
The Smokehouse,
6 Whitwell Road,
Norwich
The tuning of the tiorba for M's music was discussed at length some time ago
- you'll find it in the archives. Despite some wishful thinking, there's no
historical evidence for octave stringing on the 2nd and, if we use a proper
size instrument (ie not an implausible 'toy' theorbo
Martyn Hodgson wrote:
[...] if we use a proper size instrument (ie not an implausible 'toy'
theorbo), against the laws of physics.
Let's assume a string lenght of 80 cm. It's not a toy, but a theorbo usable
for solo music (i.e. the Mantuan 18 courses instrument).
The 'breaking index' for gut
Like all lutes, theorboes were pitched according to size so as to get the
best sound from the lowest fingered plain gut strings (usually 6th course on
theorboes) whilst remaining within the working stress of the highest course
(usually 3rd). Accordingly your small theorbo (if existing
Ciao all,
Regarding the 'historical evidence', we mus suppose an alternative
tuning, not only for Meli, but also for Pittoni.
So, as far I understand, the tuning of Melij and Pittoni still today is
a mystery... :-)
All the best,
Arto
To get on or off this list see list information at
My theorbo (copy of an original by Matteo Sellas) is 80/161. The size is
quite usual in historical instruments.
I can't imagine playing Castaldi or Kapsberger on a 95 cm instrument...
Also I can't imagine to have an instrument for any single pitch !
My instrument is stringed with plain gut
At 14:16 +0200 19/6/07, [EMAIL PROTECTED] wrote:
My theorbo (copy of an original by Matteo Sellas) is 80/161. The size is
quite usual in historical instruments.
snip
Diego Cantalupi
Dear Diego,
Which Sellas original is it copied from? I can't find any of that
size. There's the small one
Diego and all,
--- [EMAIL PROTECTED] wrote:
Anyway, most of the survived instruments (and also
my theorbo) can mount
double strings.
From this I can assume that we all play
unhistorically single mounted
theorbos...
Actually, there's quite clear iconographic evidence to
support single
Dear lutenists,
what might be the current opinion of the pieces Per la Tiorba in the
Libro Quinto of P.P. Melli? Just played them through by theorbo and by
archlute:
Both are problematic, but I think archlute has less problems!
Any recent research?
All the best,
Arto
To get on or off
[EMAIL PROTECTED] schrieb:
what might be the current opinion of the pieces Per la Tiorba in the
Libro Quinto of P.P. Melli? Just played them through by theorbo and by
archlute:
Both are problematic, but I think archlute has less problems!
Any recent research?
One suggestion I heard
On Monday, Jun 18, 2007, at 17:21 America/Los_Angeles, Mathias Rösel
wrote:
[EMAIL PROTECTED] schrieb:
Any recent research?
One suggestion I heard of is that both fundamental and and octave
strings are required for the 1st and 2nd courses.
Not so recent any more, but Andrea Damiani's
, was Theorbo tutor
By looking through the Utorpheus pages I noticed that they have a
brand new Holborne edition available. Can anyone imagine why this
would be necessary in our small lute world? We have an excellent one
by Rainer aus dem Spring, published by the English lute society
May 2007 um 14:41 hat Bernd Haegemann geschrieben:
Players: Luciano Còntini, Francesca Torelli
When I had a look at Signora Torellis homepage
http://www.francescatorelli.com/
I found out that
she brought out just now a theorbo tutor. Perhaps of interest for some
of us. (I get
@cs.dartmouth.edu
Sent: Thursday, May 03, 2007 11:36 PM
Subject: [LUTE] Re: theorbo
Nigel,
I'm going to leave the virtually the same
instrument part out of the question for the moment.
The whole debate over double vs. single string as well
as Italian vs. French performance practice could get
: [EMAIL PROTECTED]
To: Nigel Solomon [EMAIL PROTECTED]; Lute
Net
lute@cs.dartmouth.edu
Sent: Thursday, May 03, 2007 11:36 PM
Subject: [LUTE] Re: theorbo
Nigel,
I'm going to leave the virtually the same
instrument part out of the question for the
moment.
The whole debate
Ed,
Wow, thanks! I'm glad you enjoyed it. And wha
timing - I need to mention one important thing in
conjunction with this album, however.
Charles Hurel: Works for Theorbo; Christopher
Wilke, theorbo, formerly a self-release with a
different title, is now available with Centaur
Records
that an edition Bartolloti's theorbo music has
been published by the French Lute Society but in this it seems that these
figures have been either edited out or misinterpreted (as in (a) below) without
comment..
Martyn Hodgson
Martyn Hodgson [EMAIL PROTECTED] wrote:
Date: Thu, 3 May 2007
-
mostly point towards a lower pitch, i.e. a darker sound. I am sure
players who own both a large Italian and smaller continuo French
theorbo will notice this difference with their thicker strings and
shorter string lengths on their French instruments.
Jorge can argue his point
as
late as Weiss mentioned it when he wrote to Mattheson that the theorbo
and arciliuto are played with nails, while the lute was played with the
fingertips. As for Mr de Visee's playing thorough bass, I simply don't
know evidence of which way he used the theorbo.
The construction of most instruments
On May 4, 2007, at 11:07 AM, Howard Posner wrote:
You might easily get the impression from recent threads that sometime
in the third week of June 1601 lute players all abandoned thumb-in and
started playing thumb-out.
Hi Howard. Actually, it was the fourth week.
My impression (gathered
Does this mean we should not
use the same right hand technique to play the theorbo (chitaronne)
pieces by Piccinini as for De Viséé over a century later,
If Piccinini died in 1639 and Visee flourished around 1700, there are
some 60 years between them. Piccinini tells his readers how to play
, Hurel and de Visee. What I do is
basically thumb-over using thumb-index-middle maybe
75-80% of the time. The re-entrant tuning of the
theorbo means that I use the ring finger more
frequently on theorbo than, say, baroque lute.
We know that Kapsberger did not use the right
hand ring finger
I am glad you mentioned Hurel, Chris. I want to say that your theorbo CD
of Hurel is excellent, and I encourage those on this list without a copy
can get it from the Lute Society of America. It is a welcome edition to
recorded theorbo CD's! Well done!
ed
At 02:36 PM 5/3/2007 -0700, [EMAIL
)
And it is much more common to play the theorbo! ;))
Arto
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On Sunday 25 February 2007 18:13, you wrote:
On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
piece, passacaglia per tiorba. Tab and midi on
http://www.webalice.it/dg3011/index.htm
enjoy!
( A version for baroque lute will follow)
and perhaps the youtube version... ?
On Sunday 25 February 2007 18:13, you wrote:
On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
piece, passacaglia per tiorba. Tab and midi on
http://www.webalice.it/dg3011/index.htm
enjoy!
( A version for baroque lute will follow)
and perhaps the youtube version... ?
Sent: Sunday, February 25, 2007 8:11 PM
Subject: [LUTE] Re: Passacaglia for theorbo
On Sunday 25 February 2007 18:13, you wrote:
On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
piece, passacaglia per tiorba. Tab and midi on
http://www.webalice.it/dg3011/index.htm
for theorbo
On occasion of her 305th birthday, Alessia Aldobrandini gave me a new
piece, passacaglia per tiorba. Tab and midi on
http://www.webalice.it/dg3011/index.htm
enjoy!
( A version for baroque lute will follow)
Donatella
http://web.tiscali.it/awebd
To get on or off
Sorry, private message went to the list...
RT
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu; Donatella Galletti
[EMAIL PROTECTED]
Sent: Sunday, February 25, 2007 4:28 PM
Subject: [LUTE] Re: Passacaglia for theorbo
Prima di
Roman was asking to set proportional spacing. Tomorrow , per gli esteti
( it's night here)
Donatella
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Lutelist lute@cs.dartmouth.edu
Sent: Sunday, February 25, 2007 10:31 PM
Subject: [LUTE] Re: Passacaglia for theorbo
a sample page to give me an idea how many basses and or chords he has
added? When listening to the cd it souds like he's been rather modest with
adding notes to the cello's part.
David
I don't know about introductions etiquette and the like on this list,
but I'm a recent member, lute, theorbo
,
but I'm a recent member, lute, theorbo and (early) guitar player from
Amsterdam. I have been following all the recent discussions with great
interest!
Greetings from Amsterdam, Jelma van Amersfoort
On 2/18/07, LGS-Europe [EMAIL PROTECTED] wrote:
Are Juan Carlos Rivera's arrangements of cello suites
]:
Hi,
can anybody recommend a nice recording of the theorbo pieces from
Robert de Visee (Saizenay Ms.)?
After a quik search it looks like the few recordings that seem to exist
are
no longer available.
Thanks,
Benjamin
To get on or off this list see list information at
http
Hi,
can anybody recommend a nice recording of the theorbo pieces from
Robert de Visée (Saizenay Ms.)?
After a quik search it looks like the few recordings that seem to exist are
no longer available.
Thanks,
Benjamin
To get on or off this list see list information at
http
Hi,
I like the Jose Miguel Moreno plays of Robert de Visée.
Yes, i listened to it on amazon, but that seems to be one of those which
are no longer available :-)
Benjamin
To get on or off this list see list information at
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Hi,
try this one on Amazon.com:
http://www.amazon.com/Visee-Pieces-Theorbe-Robert/dp/B017LN/sr=1-2/qid=1169030127/ref=sr_1_2/105-6836316-2654830?ie=UTF8s=music
It is an old Hopkinson Smith recording, but it's still valid in my opinion.
Luca
Benjamin Stehr on 17-01-2007 11:04 wrote:
Hi,
Hi,
http://www.amazon.com/Visee-Pieces-Theorbe-
Robert/dp/B017LN/sr=1-2/qid=1169030127/ref=sr_1_2/105-
6836316-2654830?ie=UTF8s=music
Thanks for the link! I will try to find it on one of the other stores
90 USD or 81 pounds on amazon.co.uk - crazy...
Benjamin
It is an old Hopkinson
There is one in print, with Vincent Dumestre.
RT
- Original Message -
From: Benjamin Stehr [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Wednesday, January 17, 2007 5:04 AM
Subject: [LUTE] Re: Recordings of theorbo pieces from Saizenay Ms
Hi,
I like the Jose
On Jan 17, 2007, at 7:51 PM, Benjamin Stehr wrote:
Hi,
can anybody recommend a nice recording of the theorbo pieces from
Robert de Visée (Saizenay Ms.)?
Not sure if all or any of the pieces come from the Saizenay MS, but
you would have a hard time to do better than the CD by Yaunoe
I saw that on Amazon. That price is totally crazy!! Presumably it's
out of print...?
David R
[EMAIL PROTECTED]
www.rastallmusic.com
On Jan 17, 2007, at 5:55 AM, Benjamin Stehr wrote:
Hi,
http://www.amazon.com/Visee-Pieces-Theorbe-
At 07:13 AM 1/17/2007, Ed Durbrow wrote:
On Jan 17, 2007, at 7:51 PM, Benjamin Stehr wrote:
Hi,
can anybody recommend a nice recording of the theorbo pieces from
Robert de Visée (Saizenay Ms.)?
Not sure if all or any of the pieces come from the Saizenay MS, but
you would have a hard
On Jan 18, 2007, at 1:12 AM, Eugene C. Braig IV wrote:
I think you mean Yasunori Imamura (at least that's how it's
Anglicized on
his Capriccio release).
Of course I did. Stupid fingers! Just like my lute playing.
I really like that disc, especially Imamura's
interpretation of the
Dear Collected Wisdom,
some pieces of the Goess theorbo ms. bear a sign which resembles a
quaver break in modern staff notation. At first glance, I often
misinterpreted it as a cross, but it isn't a cross. More often than not,
it appears with dotted notes. Is it a break (short taking of breath
Dear fellow lutenists,
at last I had time to make also a theorbo version of the wonderful
Marche pour la Ceremonie des Turcs composed by Lully!
Actually it works quite well on the instrument. :-)
My theorbo transcription uses lots and LOTS of the campanella effect
that is made possible
Hi Roman and all,
On Wed, 18 Oct 2006, Roman Turovsky wrote:
A 11-13course version is at
http://polyhymnion.org/swv/opus-2.html
Roman, you were very fast, indeed! May I put a link to my Lully/Marche
page? Or perhaps put even a copy directly to my directory? (with a
link to polyhymnion, of
on the
theorbo, or omitting notes which go too high, you could call it an
arrangement, but I think I would stick to the word intabulation.
I hope that helps.
All the best,
Stewart McCoy.
- Original Message -
From: Arto Wikla [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Wednesday
On Wednesday, Oct 18, 2006, at 13:21 America/Los_Angeles, Stewart McCoy
wrote:
A transcription involves copying music from one notation
note-for-note to another, for example, re-writing lute tablature as
staff notation. For the most part, it is a mechanical job, because
the notes stay the
Note that the highest sounding string of the theorbo (e')
is the _third_ string, not the top string (d') which
is really a second lower. This cooresponds exactly to
the highest string of the angelique (also e').
Placement on the instrument is different, but it
produces the same sound.
OK
If you say, however, angeliques are compound
instruments, consisting of lute bodies, theorboed
necks, and harp tunings, I should NOT dissent, that is.
--
Best,
Mathias
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--- Mathias Rösel [EMAIL PROTECTED]
As for this initial question, we've now reached the
point where the
_tessiture_ are compared: e'-C (angelique) vs. d'-C
(lesser, or French,
theorbo).
No, as I mentioned in my last message, the range of
the open strings is _exactly_ the same. Not just
We must be very careful! There exist an Angelique in Paris (E.
980.2.317, see the new catalogue p. 94) with a neck (not a swan
neck,
but also not a true theorbo neck - it's something between) who is
known from French iconographic sources from 1660-80.
Do you mean to say
their invention. Things like material, keys,
valves, frets, accidents of design, merely represent
technological modifications of an initial idea (the
invention) that often stretched back somewhere in
pre-history.
The angelique
considerably differs from the
lute and the theorbo in two aspects
Swan-necks on angeliques predate the
purported/alleged invention by some
50 years.
The oldest two out of those four angeliques in Schwerin date from 1704
(both made by Tielke). One angelique in Munich is a former lute, dated
from 1633. (According to Pohlmann 1982, p. 596-7)
Kremberg's
Hello
We must be very careful! There exist an Angelique in Paris (E.
980.2.317, see the new catalogue p. 94) with a neck (not a swan neck,
but also not a true theorbo neck - it's something between) who is
known from French iconographic sources from 1660-80.
I know a Tielke lute from 1680
Message -
From: Andreas Schlegel [EMAIL PROTECTED]
To: Mathias Rösel [EMAIL PROTECTED]
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Sunday, October 08, 2006 1:46 PM
Subject: [LUTE] Re: Angelique (olim Another Theorbo Question)
Hello
We must be very careful! There exist an Angelique in Paris (E
@cs.dartmouth.edu
Sent: Sunday, October 08, 2006 1:46 PM
Subject: [LUTE] Re: Angelique (olim Another Theorbo Question)
Hello
We must be very careful! There exist an Angelique in Paris (E.
980.2.317, see the new catalogue p. 94) with a neck (not a swan neck,
but also not a true theorbo
theorbos. That much
can safely be said.
We must be very careful! There exist an Angelique in Paris (E.
980.2.317, see the new catalogue p. 94) with a neck (not a swan neck,
but also not a true theorbo neck - it's something between) who is
known from French iconographic sources from 1660-80
to propose that the angelique
came about by modifying existing theorbos,
specifically the French solo theorbo? As you say
above, the surviving examples are small,
single-strung. This sounds more like a solo theorbo
than a lute. Since doubled-headed lutes were not
generally used in France, why would
--- Roman Turovsky [EMAIL PROTECTED] wrote:
Swan-necks on angeliques predate the
purported/alleged invention by some
50 years.
RT
The angelique is essentially a converted _theorbo_,
not a lute. In this case, the theorboed extension was
already there and the swan-necking was merely a
Hi all,
I wrote:
This could be a good idea to me: I have now my smaller theorbo (Barber's
French theorbo, 76cm:8x1/140cm:6x1) stringed and tuned to high
d-theorbo, but that instrument could be easily set also to d-minor
tuning. But what would our collective hip police say about playing
On Friday, Oct 6, 2006, at 05:27 America/Los_Angeles, Rob Dorsey wrote:
Actually there is apparently, reading Narvey, considerable evidence
that
English theorbists adopted the Dm tuning despite it being a French
initiative. Go figger' huh?
Mace, writing in 1676, said the theorbo was tuned
Swan-necks on angeliques predate the
purported/alleged invention by some
50 years.
The oldest two out of those four angeliques in Schwerin date from 1704
(both made by Tielke). One angelique in Munich is a former lute, dated
from 1633. (According to Pohlmann 1982, p. 596-7)
The angelique
Hi all
Yet another theorbo question. It seems to me that a moderately-sized
solo theorbo in D minor tuning would be a good all-purpose Baroque
lute upon which one could play the modern late 17th/early 18th-
century continuo, as well as all the German (and maybe even some of
the French
In einer eMail vom 06.10.2006 09:26:20 Westeurop=E4ische Normalzeit schreibt
[EMAIL PROTECTED]:
But what would our collective hip police say about playing
Gaultier, Weiss, Falkenhagen, Losy, etc. by a single strung
instrument... ;-))
Arto
Nothing new about that have a look here
: Friday, October 06, 2006 1:26 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Another Theorbo Question
On Thursday, Oct 5, 2006, at 22:21 America/Los_Angeles, LGS-Europe
wrote:
After 1680 the tuning nuveau in Dm spread with the Enlightenment
movement to include lutes and theorbos played
can presume that he played
(dm?) theorbo in orchestral situations, there is a
letter from Weiss in which he describes accompanying
an aria on the lute - which he thought worked well in
terms of balance only _because_ he was joined by just
the basses and harpsichord. They must have worked
something
Lucas,
What about the dm lute in ensemble music, period?
We know that there is actually a significant amount of
music for baroque lute with other instruments.
Supposedly, Weiss worked to invent the swan neck lute
especially so that it could be heard in instrumental
groups.
Swan-necks
Dear Luters,
Yet another theorbo question. It seems to me that a moderately-sized
solo theorbo in D minor tuning would be a good all-purpose Baroque
lute upon which one could play the modern late 17th/early 18th-
century continuo, as well as all the German (and maybe even some
Administrator
Yet another theorbo question. It seems to me that a moderately-sized
solo theorbo in D minor tuning would be a good all-purpose Baroque
lute upon which one could play the modern late 17th/early 18th-
century continuo, as well as all the German (and maybe even some of
the French
inventively, just dropping out the first course tuning and opting for
d,a,f,D,A,G, etc.
Having played continuo in Dm tuning on my 76/120 theorbo lute, I can say
that it falls readily to hand and many chords (in keys popular with the
bowed instruments, barokflaute and recorders, like F,C G
Carlin'; 'David Rastall'; lute@cs.dartmouth.edu
Subject: [LUTE] Re: Another Theorbo Question
David and All,
The article by Narvey is excellent, scholarly and, given that it is factual
and not opinion, definitive. After 1680 the tuning nuveau in Dm spread with
the Enlightenment movement to include lutes
and not opinion, definitive. After 1680 the tuning nuveau in Dm spread
with
the Enlightenment movement to include lutes and theorbos played in
northern Europe.
Don't forget the mandora, very nortern Europe, too, that stayed in old
tuning.
David
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David
And the English theorbo.
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Dear list,
Many thanks to those of you who responded to my recent questions
regarding theorbos. Your input is much appreciated.
David R
[EMAIL PROTECTED]
www.rastallmusic.com
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David,
The body of the lute/theorbo - particularly the t'bo - affects the sound
profile immensely. By body shape we actually mean the shape and volume of
the air cavity within the body and how its volume and distribution affect
the propagation of the vibrations of the sound board. Likewise
Chris sent this additional information.
===
Dear Arthur
Tempus fugit indeed!
Boethius/Severinus facsimiles are now sold by Jacks,
Pipes and Hammers - you
can see their ad in LSAQ - e.g. on p. 10 of the
February 2006 number
all the best
Chris Goodwin
Dear David
question is: which is more important to the production of a full,
substantial theorbo sound...long playing length, or a large body? Or
is it a combination of both?
For theorbos it's simple: bigger is better. Big body, long stopped strings,
long diapassons. You want to have big
LGS-Europe écrit:
For a good general introduction to theorbo playing turn to Kevin
Mason's The Chitarrone and its repertoire in early seventeenth-century
Italy (Boethius 1989)
Hello David,
This sounds very interesting, but it seems to be out of print. Does anyone
know where one could find
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