This isn't an answer to my question, I don't care which is older - that was
just a guess. I believe we know that the provenance of the lute was as a
melody instrument played with a quill plectrum. I don't know the provenance
of the guitar tuning. The question was this, why the difference when they
Many thanks Howard,
Hours of research on this one, I'm sure. I was impressed by the
paragraph...
In Gabrieli's Dulcis Jesu a couple of soloists sing
the first four words of the text for rather a while before the choir
enters
dramatically on and.
Trying to imagine a majestic choir in some
This isn't an answer to my question, I don't care which is older - that was
just a guess. I believe we know that the provenance of the lute was as a
melody instrument played with a quill plectrum. I don't know the provenance
of the guitar tuning.
There is no provenance. Again, it is contained
Deat Jon,
snip
I believe we know that the provenance of the lute was as a
melody instrument played with a quill plectrum. I don't know the
provenance
of the guitar tuning.
One of the reasons I have read (can't remember where) for the triumph of the
violin family over the gambas is that the
What will it take for lutenists to take contemporary music for their
instrument seriously, I wonder:
It is a very difficult question. Most contemporary lute music is just plain
silly. I make some exception for Alain's and Paulo's stuff, which is of
limited modernity. And that is good thing
What will it take for lutenists to take contemporary music for their
instrument seriously, I wonder: Should it come from the top - our virtuoso
artists, like Ron McFarlane, or from the base? Should it come at all?
Who will be our Segovia?
Alain
We have 3 world class virtuosos, Barto, Egüez
What will it take for lutenists to take contemporary music for their
instrument seriously, I wonder:
It is a very difficult question. Most contemporary lute music is just plain
silly. I make some exception for Alain's and Paulo's stuff, which is of
limited modernity. And that is good thing
Since the May 2004 issue of Early Music has been brought up, I suggest
all who have access to it take a look at the article on page 177, The
Spanish plucked viola in Renaissance Italy, 1480 1530, by Hiroyuki
Minamino. He has compiled a remarkable amount of iconographic evidence
from all over
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