Stainer and Bell in the UK have published all Dowland's songs in reliable
modern editions - including lute tablature and transcription:
http://www.stainer.co.uk/dowland.html
Rob MacKillop
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On Wednesday 02 April 2008 21:53, Christopher Stetson rattled on the keyboard:
Here are links for the Dover editions:
http://store.doverpublications.com/048629935x.html
http://store.doverpublications.com/0486422445.html
Jeffrey Noonan [EMAIL PROTECTED] 4/2/2008 1:12 pm
Take care with these
Dear Rob all:
I have to say that one must approach even the sainted SB editions with a bit
of caution. The poetry retains many of the 'corrections' perpetrated by
Fellows, who should be commended for his pioneering work but scolded for
messing with the texts. It is worth the bother to
Rob
Sorry, I can't quite leave-off, you got me thinking too much. Of
course, like everyone else, I can't help thinking about what lute I
would like next, but also, how I wish I was a little more focussed
and less dilettante (imore in the French use of this word (i.e. going
where
Dear Anthony and All,
I assume the Martin you refer to is me. I don't remember ever saying
that I thought Dowland changed from 7c to 9c without ever using an 8c,
or that any of these changes coincided with his change from TI to TO.
We simply don't know the answer to any of these questions.
On Apr 3, 2008, at 11:58 AM, Anthony Hind wrote:
Rob
Sorry, I can't quite leave-off, you got me thinking too much. Of
course, like everyone else, I can't help thinking about what lute I
would like next, but also, how I wish I was a little more focussed
and less dilettante (imore in the
I bow to your superior knowledge, Ron. It is an area I will be looking into
eventually. The SB editions seem a good place to start, plus the
facsimiles. Have the Poulton biog.
Rob
On 03/04/2008, Ron Andrico [EMAIL PROTECTED] wrote:
Dear Rob all:
I have to say that one must approach even
Jean-Marie,
I am glad somebody agrees with me on this issue. Theis topic, 8 course
lutes, was discussed some tome ago on this list. I also have an 8 course
lute., and I like it ever so much more than a 7 course lute I once had.
ed
At 01:02 PM 4/3/2008 +0200, Jean-Marie Poirier wrote:
Should we make a Club of the 8 course proud users ?
Val (is it an half penny idea ?)
;-)))
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: Jean-Marie Poirier [EMAIL PROTECTED]; lute
lute@cs.dartmouth.edu
Sent: Thursday, April 03, 2008 1:38 PM
Subject: [LUTE] Re: 7c at
Martin
I think quick and rather careless reading throughof this dialoque
between yourself and Ed, brought me to the conclusion that you were
suggesting Dowland might have gone from 7c to 9c.
Nevertheless, i knew I had read something that gave me that idea:
Jean-Marie and Ed,
No derogatory remarks have come from me on the 8c. Again, I would
just like to say that if someone is hoping to play Francesco and
Dowland on the same lute, then 7c is surely the better choice, with
the 7c in D, that covers much 8c music with the possibility of
Ok Valéry, get your Lagavulin ready then !!! ;-)
Jean-Marie
=== 03-04-2008 14:02:30 ===
Should we make a Club of the 8 course proud users ?
Val (is it an half penny idea ?)
;-)))
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: Jean-Marie Poirier [EMAIL
Yes and often using wire-wounds, However, Jacob Heringman, if we
begin naming names, specializes in this repertoire.
Anhtony
Le 3 avr. 08 à 15:54, Nigel Solomon a écrit :
Anthony Hind wrote:
Jean-Marie and Ed,
No derogatory remarks have come from me on the 8c. Again, I
would just
In a very brief reading, I found the music pleasant and quite
idiomatic. I'll look at more on another day when it isn't bedtime.
In way of constructive criticism, I would say forget the two part
rhythmic signs. That is very confusing and counter-intuitive. All
traditional lute music is
No problem, Anthony. I did not feel fussed at all about this 8c business. I
quite understand what you mean, but my conclusion will nevertheless be that a
compromise will remain a compromise, i.e. something imperfect and by nature
unsatisfying... So, after that, it's only a matter of how much
I think we can agree on that, but probably not my Bank manager, who
really turns out to be my good lady wife ...
I am having trouble persuading her that a 10c might be an absolute
necessity, without which life would become utter gloom and doom.
And as you say, a compromise is always that,
Count me in, Val
Kerry
Valéry Sauvage [EMAIL PROTECTED] wrote:
Should we make a Club of the 8 course proud users ?
Val (is it an half penny idea ?)
;-)))
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: Jean-Marie Poirier [EMAIL PROTECTED]; lute
Jean-Marie and Val,
I wrote recently in support of the 8-course lute. There are many
advantages, and unless you want a house full of lutes, it is a good,
all-purpose instrument.
That's my hap'orth. My previous exposition on the subject was worth more
like tuppence or thruppence.
Best wishes,
I continue to hold the unpopular view that the eight course may
slightly slow musical development: If you have any interest in
continuo, the non linear bass is a hurdle, and if you wish to play
10c, archlute or theorbo,
the course memorization for the bass courses is slowed a bit: you
have to
David
You forgot two of my favourite whiskies, Bruichladdich and Clynelish.
A friend of mine found a very ancient Bruichladdich at Edinburgh
University Celtic association, and was bringing it back to Paris,
when at the exit of a tube gate, he found a person in a wheel chair
who
Bruichladdich is also an Islay malt, as the one prefered by David, you can
also add Bunnahabhain, Coal Ila and Port Ellen (sleeping distillery, very
hard to find a botlle of) and you will have the four other course of an
eight course Islay lute wisky (Am I melting everything ?)
My preference
I have a friend I push around in a wheel chair. We pull that trick every
time. Suckers!
Rob
On 03/04/2008, Anthony Hind [EMAIL PROTECTED] wrote:
David
You forgot two of my favourite whiskies, Bruichladdich and
Clynelish.
A friend of mine found a very ancient Bruichladdich at
I'm in!
Leonard Williams
/[ ]
/ \
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\_=_/
On 4/3/08 8:02 AM, Valéry Sauvage [EMAIL PROTECTED] wrote:
Should we make a Club of the 8 course proud users ?
Val (is it an half penny idea ?)
;-)))
- Original Message -
From:
I realize that many of our current lute list members do not care for the 8
course lute, but I really like mine. One thin, for those using a reason of
too much resonance on my French CD of all 6 course music, I used an 8
course lute, all in gut, with octaves on 4,5, 6. It fooled most, who
It's all fire-water to me.
ed
At 09:03 PM 4/3/2008 +0200, Anthony Hind wrote:
David
You forgot two of my favourite whiskies, Bruichladdich and Clynelish.
A friend of mine found a very ancient Bruichladdich at Edinburgh
University Celtic association, and was bringing it back to Paris,
Dear Bernd,
My guess is that La rocha el fuso originated as
a Venetian dance-song like several other mainstays of
the Italian repertoire - for example 'la Traditora' and
'la cara cossa.' An interesting blend of street song and
dance that became popular standards for several decades,
appearing in
- Original Message -
From: Denys Stephens [EMAIL PROTECTED]
To: 'Bernd Haegemann' [EMAIL PROTECTED]; 'LuteNet list'
lute@cs.dartmouth.edu
Sent: Thursday, April 03, 2008 6:40 PM
Subject: [LUTE] Re: rocha fuso
Dear Bernd,
My guess is that La rocha el fuso originated as
a Venetian
Thank you, Arthur, for sharing this exciting memory about the Donaueschingen
Manuscript. Fascinating, as susual !
All the best,
Jean-Marie Poirier
Dear Bernd and Denys,
That is most likely a Venetian street song. El fuso is Venetian
dialect (NOT Spanish as in RISM for Munich 1511B!!!sigh).
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