I wonder if lutenists of the 15th and early 16th centuries felt the
same about the introduction of the 7, 8 and 10 course instruments, not to
mention the theorbos, attorbiatos etc., as some of us seem to feel about the
liutos forte, ruby gambas, arch guitars, etc.
Also regarding Julian
Sorry, Stewart. I meant to send this to the lutelist, not you personally.
Gary
- Original Message -
From: gary digman [EMAIL PROTECTED]
To: Stewart McCoy [EMAIL PROTECTED]
Sent: Saturday, July 29, 2006 2:43 AM
Subject: Re: [LUTE] Historical amplification
There is an English
I wonder if lutenists of the 15th and early 16th centuries felt the
same about the introduction of the 7, 8 and 10 course instruments, not to
mention the theorbos, attorbiatos etc., as some of us seem to feel about
the
liutos forte, ruby gambas, arch guitars, etc.
Also regarding Julian
Good gentles,
This thread brings to mind a concert in April where I was asked to provide
archlute continuo for Albinoni's D minor Oboe Concerto and Vivaldi's A minor
Cello Concerto.
I agreed, then found out to my horror a week before the concert that the
modern string orchestra numbered about
Since I was mentioned, I will comment. First, I have no financial interest in
this set or the effort to sell it. This is a pretty darn nice set of Burleigh
pipes with better-than-typical finish and tuning (which I did adjust also). The
Liestman parts of the set are the reeds (all new) and the
Dear Stewart,
Stewart McCoy wrote:
However, I haven't pursued it, because
1) I find it hard to keep the lute steady, when it is on the table,
and there is no need at home for the sound to be amplified.
That would appear to be a major concern. Chris mentioned that the
other position shown in
similar even if wrong sound? I think simply doesn't exist an archlute that
can win against such an orchestra. Actually even a guitar is easily
overwhelmed by a quartet of modern strings. The past year I've listened to
the integral of the Boccherini's quartets with guitar and the guitar was
Don't the secular start with BWV 201?
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]; Lute Net lute@cs.dartmouth.edu
Sent: Saturday, July 29, 2006 1:41 AM
Subject: [LUTE] Re: Lutes in church
Indeed classified as such, but composed for the
On Jul 29, 2006, at 5:33 AM, gary digman wrote:
I wonder if lutenists of the 15th and early 16th centuries
felt the
same about the introduction of the 7, 8 and 10 course instruments,
not to
mention the theorbos, attorbiatos etc., as some of us seem to feel
about the
liutos
Has anyone translated into English the Petit discours at the
beginning of Vallet's Le Secret des Muses?
Thanks,
Ed Durbrow
Saitama, Japan
[EMAIL PROTECTED]
http://www9.plala.or.jp/edurbrow/
To get on or off this list see list information at
Roman Turovsky wrote:
There are some other players that use hybrid single-strung
instruments
that are almost L-F.
Tim Burris uses a single strung lute set up as liuto-forte
http://baroquelute.com/Archives.html
Stubbs, Moreno and some others do something of the sort too.
And Luciano
There are some other players that use hybrid single-strung
instruments
that are almost L-F.
Tim Burris uses a single strung lute set up as liuto-forte
http://baroquelute.com/Archives.html
Stubbs, Moreno and some others do something of the sort too.
And Luciano Contini's wire-strung
On Saturday, Jul 29, 2006, at 09:06 America/Los_Angeles, Roman Turovsky
wrote:
This is conceptually different from taking
the concept of the lute and redesigning it to be louder, on the model
of the modifications made to pianos and violins in the 19th century,
which is the idea behind the
I assume the person played it on baroque lute because
the piece uses a a guitar tuning that is similar to
the d minor tuning. Must have been fun.
Sterling Price
--- Howard Posner [EMAIL PROTECTED] wrote:
On Saturday, Jul 29, 2006, at 05:52
America/Los_Angeles, Roman Turovsky
wrote:
I
I tried Oxford's Sixteenth Century Verse but that only has one poem by Joshua
Sylvester and those lines aren't in it. Ditto my other poetry anthologies.
Hopefully, someone with a more extensive 16th-17th cen. poetry library will
be able to find that poem for you.
Michal
Spring,
On Saturday, Jul 29, 2006, at 05:52 America/Los_Angeles, Roman Turovsky
wrote:
I am not familiar with Domeniconi's music.
I'm impressed that you've managed to avoid Koyunbaba, given its
monster-hit status in the classical guitar world for the last 15 or so
years.
Does anyone have or has
- Original Message -
From: Matanya Ophee [EMAIL PROTECTED]
Newsgroups: rec.music.classical.guitar
Sent: Saturday, July 29, 2006 12:39 AM
Subject: Koyunbabaroque
Just when I though I have heard everything! A couple of days ago, at
Clare Callahan's Summer School in Cincinnati, I heard a
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