--- On Mon, 2/6/08, howard posner [EMAIL PROTECTED] wrote:
From: howard posner [EMAIL PROTECTED]
Subject: [LUTE] Re: Choosing Strings
To: LUTELIST List lute@cs.dartmouth.edu
Date: Monday, 2 June, 2008, 6:31 PM
On Jun 2, 2008, at 2:06 AM, Martyn Hodgson wrote:
How do do we (ie you)
I seem to recall that chitarone / theorbo did at first not refer to the
extended neck but to the reentrant high tuning which was at first used
on bass lutes (then still without bass extension). Chitarone being the
big version of the chitara francese, a type of _lute_ played in Italy.
Only later,
Lots of good questions that obviously haven't been
satisfactorily answered. One thing that has bothered
me for a while as well is that the paintings often
aren't consistent within themselves.
Quite often one finds red-ish strings on
non-successive courses, i.e. the 5th course and the
9th course
On Jun 3, 2008, at 6:24 AM, [EMAIL PROTECTED] wrote:
the lute
player on the cover of Hoppy's 'Vieux Gaultier' CD
(who's the artist?) plays an instument with the first
and second courses red but also the BASS string only
of the 7th course. All the other ones are pale.
Why?
Maybe as a
Le 3 juin 08 à 16:32, howard posner a écrit :
On Jun 3, 2008, at 6:24 AM, [EMAIL PROTECTED] wrote:
the lute
player on the cover of Hoppy's 'Vieux Gaultier' CD
(who's the artist?) plays an instument with the first
and second courses red but also the BASS string only
of the 7th course. All the
I think you are speaking of the lute player, in Troyes (France) Beaux-arts
museum, with uncertain attribution to Rubens.
I saw many times the original and some strings are red on the painting (the
original is more than human size... beautiful picture of course) I remember
it is a ten course lute.
I've posted a picture of this painting (L'homme au luth) here :
http://lutegroup.ning.com/profile/JMP
Just join the group (free) and enjoy !
Best,
Jean-Marie
=== 03-06-2008 15:24:22 ===
Lots of good questions that obviously haven't been
satisfactorily answered. One thing that has
Piccinini certainly reports this
MH
--- On Tue, 3/6/08, Mathias Rösel [EMAIL PROTECTED] wrote:
From: Mathias Rösel [EMAIL PROTECTED]
Subject: [LUTE] Re: theorbo sizes; theorbo definitions
To: David Tayler [EMAIL PROTECTED]
Cc: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Date: Tuesday, 3
Just go there first, Valéry : http://lutegroup.ning.com/profile/JMP ;-)
Jean-Marie
=== 03-06-2008 16:45:21 ===
I think you are speaking of the lute player, in Troyes (France) Beaux-arts
museum, with uncertain attribution to Rubens.
I saw many times the original and some strings are red
The color of the string is a result of the processing of the casings making
gut strings. It is a consequence of the nature of the casings themselves,
the chemistry used, the Ph of the water etc. So finished strings can end up
being a rich brown color, a nearly white color, and anything in
I understand the introduction of the vihuela into Spanish Neapolitan
provinces helped the spread of the Italian viola da mano, but where does
Francesco da Milano come in? Did he have a connection with the south? Or did
the instrument spread to the north as well? How popular was the viola da
mano?
Dear Rob,
The best source of information that I know of about the viola
da mano is Hiroyuki Minamino's article 'The Spanish plucked viola
in Renaissance Italy, 1480-1530' (Early Music, May 2004).
It doesn't say a lot about Francesco owing to the scarcity of
information, but he covers Isabella
Nach Darmstadter Manier-
http://polyhymnion.org/swv/images/aria-ruthenica.pdf
http://turovsky.org/music/aria-ruthenica.mp3
Enjoy,
RT
Which is a companion piece to one
nach Berliner Manier-
http://polyhymnion.org/swv/images/aria-sarmatica2.pdf
Thanks, Denys. That sounds an ideal starting place.
I've just read this from Chris Wilson's review of the 1997 International
Symposium on Francesco:
Dinko Fabris had some intriguing new possibilities concerning Francesco's
early years. He had uncovered in church records in Barletta, near Bari
John Griffiths' book on Neapolitan Lute Music looks very informative - you
can read some of it on Google Books:
*http://tinyurl.com/5cjr6v*
These links to Google Books are not always successful.
Looks like the works of Dentice and Severino could be added to the
viola/vihuela repertoire.
Rob
--
Dear all,
The celebrated maker Lorenzo Gusnasco da Pavia made quite a number of
instruments for many Italian nobles, especially for Isabella d'Este, including
several viols (whatever this may mean in late 15th-century Italy). A point of
interest here is that among her servants we find Giovanni
Howard,
--- howard posner [EMAIL PROTECTED] wrote:
the
first
and second courses red but also the BASS string
only
of the 7th course. All the other ones are pale.
Why?
Maybe as a visual cue, the way harpists color their
C and F strings
today...
Makes perfect sense for the 7th
On Jun 3, 2008, at 6:11 PM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
Makes perfect sense for the 7th course. ...but the
top two? Those are probably the easiest two strings
to find.
Good point; I misread your first post.
--
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