On Sep 28, 2010, at 6:12 AM, Ron Andrico wrote:
There
is a _Traite d'accompagnement_ by one Francois Campion (1716), and
there is _The Art of Descant, or Composing Musick in Parts_ by Thomas
Campion published by Playford (1674). My guess is that you are seeking
the former, which is
On Sep 29, 2010, at 1:50 PM, Sam Chapman wrote:
The question is becoming more complicated: as far as I can work out,
Campion published a Traite d'accompagnement (1716) and an Addition
au traite d'accompagnement (1730). I think that the detailed
descriptions of accompanying on theorbo,
On Oct 7, 2010, at 6:55 AM, Martin Shepherd wrote:
17th C archlutes were indeed about 67cm string length and used gut strings
for which the highest practical pitch was about a'=392 or possibly lower. It
follows that the ensembles in which they played must have used these low
pitches.
On Oct 7, 2010, at 2:37 PM, Martin Shepherd wrote:
The issue about archlutes with shorter string lengths is muddying the
waters a bit - I was assuming that everyone accepted a differentiation
(dating right back to Robert Spencer's paper in 1976) between liuti
attiorbati (surviving
On Oct 15, 2010, at 2:50 PM, Stuart Walsh wrote:
The piece goes beyond the three octaves of a lute so I had to do some octave
transposition.
The big advantage of 12-tone music is that nobody can tell.
The phrases are very clearly marked and I didn't do any Baroque guitar-style
octave
On Oct 16, 2010, at 3:55 AM, Andreass Schroth wrote:
Octave transpositions for example are also in 5- ore 8-tone music not so easy
hearable.
They're really very easy to hear in tonal music, at least in melodic lines.
That's why this list has often hosted discussions about such things as the
On Oct 18, 2010, at 5:52 AM, Christopher Wilke wrote:
I've been told this by several different directors, too. (Theorbo: toy
class. Stringing: synthetic and gut). Never believe them! After every
concert where I've been asked to hold back, I've asked people from the
audience whether
On Oct 18, 2010, at 1:54 PM, Thomas Schall wrote:
Hoppy plays it p-i-m-i-a-i-m-i (if I recall correctly)
I hope not. I think you p-i-m-i-p-i-m-i. Kapsberger's instruction in the
front of the book are pretty clear, if I recall: keep the same pattern, rather
than arpeggiating bottom to top
On Oct 19, 2010, at 7:46 PM, t...@heartistrymusic.com wrote:
Attached is a Fronimo 3 file and a PDF for solo lute of In My Life
Alas, you can't send attachments to the list.
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Some of the posters are seem unaware that Kapsberger's Third Book was found a
few years ago. Diego Cantalupi not only recorded it, but included a pdf
facsimile of the book on the CD. Any theorbo player who doesn't have it
already should start dropping hints with loved ones for the next
On Nov 18, 2010, at 4:37 AM, Roman Turovsky wrote:
it won't accept os9.2, so I can't put osX on it.
You're sure about this? My old G4 (256M ram, 800 MHz, PowerPC g4 2.1 CPU) is
running 10.4.11.
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On Nov 19, 2010, at 10:28 AM, jsl...@verizon.net wrote:
Definitely get a strap, which will allow you to sit up straight
Or stand up straight and walk around.
I not played it in 4 years because holding it causes me back pain
after 15 minutes. Any solution such as a strap or holder? I
On Nov 23, 2010, at 9:01 AM, Suzanne Angevine wrote:
Here are my questions from that attempt. How do you get any sort of knot to
tighten up with such a stiff, unpliable material? Should the place where the
knot is going to be be worked to loosen it first?
You can tie and burn the knot in
Suzanne Angevine wrote:
My first observation is that all you who have done this a bunch don't
remember how hard it was at first to get it. And my second observation is
this. while none of you admitted to working the end of the gut a little to
make it possible to tighten the knot well, I
On Dec 5, 2010, at 7:23 AM, Christopher Wilke wrote:
Travel back in time to the gallant era when such things mattered (just be
sure to avoid Mozart, who once broke a shoe because he was stomping along so
forcefully to the music)
Well, no. As intriguing as the thought of Mozart stomping
On Dec 5, 2010, at 8:53 AM, Roman Turovsky wrote:
Lulli hit himself in the foot while conducting with such strenght that he got
gangrene and died.
There you have an illustration of 17th century comportment.
But rather the opposite of what the listers are complaining about with EK.
Lully
On Dec 5, 2010, at 9:19 AM, Roman Turovsky wrote:
Read up on the Ch.Burney account of C.P.E.Bach's own keyboard performance.
OK, here it is:
After dinner, which was elegantly served, and chearfully eaten, I prevailed
upon him to sit down to a clavichord, and he played, with little
On Dec 5, 2010, at 12:35 PM, Roman Turovsky wrote:
The video in question was not made for any audience
It must have been made for someone to see. This was a professional shoot (with
three cameras?), and EK could scarcely have been unaware of the closeup camera.
That said, his gestures do
Alas, I was not clear, left out a word, resulting in tautology...
On Dec 5, 2010, at 1:06 PM, howard posner wrote:
That said, his gestures do seem to be part and parcel of his performing
style, which is full of big, impulsive gestures.
I meant to say big, impulsive musical gestures. i.e
The Los Angeles Times finally got around to running an obituary for James Tyler:
http://www.latimes.com/news/obituaries/la-me-james-tyler-20101206,0,6461706.story
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On Dec 6, 2010, at 5:11 PM, Edward Mast wrote:
Some time ago I read a book about the Guarnerius Quartet, one of this
country's most outstanding and venerable string quartets. In it was
mentioned that they didn't need to look at one another to know what each was
doing musically. Seeing
On Dec 27, 2010, at 6:51 AM, Roman Turovsky wrote:
That's tasty food for thought to catgut integralists on this list, and a bite
out
of their ideal of authenticity.
I already imagine Dan Larson chasing a suitable kitty, because Anthony Hind
has just ordered a set.
RT
Morris'
On Jan 3, 2011, at 9:15 AM, t...@heartistrymusic.com wrote:
2. Would Vivaldi have written standard notation that a lutenist would then
have entabulated
according to the instrument in their possession at the time?
A lutenist, particularly a lutenist capable of playing a Vivaldi concerto,
On Jan 3, 2011, at 11:17 AM, Eugene C. Braig IV wrote:
Oddly, when Paul O'Dette recorded these years ago, he opted to play the
leuto works punteado on mandolino. Frankly, in spite of the excellent
performance, the solo line sounds odd in to me in that octave.
Not so odd at the time, when it
On Jan 3, 2011, at 12:16 PM, franco pavan wrote:
Only a word about the notation. We have hundreds of pieces for italian
archlute from the XVIII-Century. All the pieces are written with the
same notation used by Vivaldi. It was the common way in Italy to write
the music for our
On Jan 13, 2011, at 9:08 PM, Claudia Funder wrote:
For last few days I haven't been able to turn the pegs at all. I've tried
the heat/drying technique suggested but given it hasn't really helped.
(Actually, I might try a hair dryerHmm)
Welcome, Claudia. I hope you understand
On Jan 14, 2011, at 10:16 AM, Roland Hayes wrote:
So if you won't get a good turner soon, or if you're still afraid of breaking
the peg, you could try this instead, or let your builder do it for you
Of course, Claudia's builder would need arms 11,000 miles long to do this.
To get on or
On Feb 8, 2011, at 7:12 AM, Roman Turovsky wrote:
And the fretting is equally tempered, just like it was (and should be) in
real life.
I think not. I blew up the picture so that the length of the sixth course
from nut to bridge was 47.72 cm (18 inches) the biggest I could conveniently
On Feb 9, 2011, at 9:38 AM, Anthony Hind wrote:
http://tinyurl.com/67aeck3
We do see that the pegs look the same, but the painting of the lute is much
less
If you mean the pegs on this painting look the same as the ones in The
Ambassadors, try zooming in on the Ambassadors pegs. They are
Do any UK listers know of a Henry Williams in the Manchester area? We've been
communicating about an instrument I'm selling, and I'm suspicious that it may
be a scam.
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, almost anything for sale, even posted in obscure locations,
seems to generate bogus responses.
Guy
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Ken Brodkey
Sent: Friday, February 18, 2011 10:15 AM
To: howard posner
Cc: lute mailing
On Feb 21, 2011, at 3:41 PM, Edward Martin wrote:
Yes, according to Baron! I never have to tune again!
Mattheson, I think.
Happy birthday.
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On Mar 8, 2011, at 8:38 AM, Rob MacKillop wrote:
Now that I've mastered it (cough!) does this make me a real lute player
now? Can I look disdainfully at those who have never tried it?
Of course. Otherwise, what's the point of doing it?
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On Mar 13, 2011, at 8:34 AM, Christopher Wilke wrote:
Doesn't this guy know that he's not meant to be heard, but only contribute to
the composite sound??? It is always _very_ bad form for the lute to be
heard!
Yes, that's what everyone's always told me, even when I played solo gigs.
To
Wondering if anyone's shipped a big instrument lately, and has any
recommendations.
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On Mar 21, 2011, at 2:58 PM, wikla wrote:
Only just one day after mine, poor JSB! ;-)
But you look young; I wouldn't have thought you a day older than 275.
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On Mar 27, 2011, at 8:38 AM, Ron Andrico wrote:
Chris:
Let's not be too hard on poor Striggio's and his choices for writing in
40-60 parts. Try it yourself observing 16th century norms of
counterpoint and the handling of dissonance.
Ron Andrico
Indeed. The more voices in the
The Oxford English Dictionary includes to fall short (It fainteth or
straieth from the marke, if you aime further off), also to lose heart, be
depressed, from about this time period. The sense here seems to be that he
thought he should not be half-hearted in his gratitude.
On Apr 5, 2011, at
On Apr 8, 2011, at 4:26 PM, Roman Turovsky wrote:
Here's Merula's Cappriccio Cromatico played on a mean-tone organ:
http://www.youtube.com/watch?vÕ_bSrkEFXs
It was so insufferable I had to turn it off halfway through.
The second half was the best part.
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On Apr 11, 2011, at 9:01 PM, David Tayler wrote:
Dear collective wisdom, please weigh in with your favorite Purcell
song for the tenor range for my fall set.
'Tis Nature's Voice
On the Brow of Richmond Hill
But why the hit parade? You could probably find a gem by opening Orpheus
Try one of these:
http://www.sca.org.au/del/ddb/music/caroso_spagnoletta_transcribed.pdf
http://sca.uwaterloo.ca/~praetzel/phaedria/SPAGNOLE.pdf
On Apr 24, 2011, at 11:52 AM, Julia Seager-Scott wrote:
Hello all,
I am a triple-harp player looking for the original source of Respighi's
Imagine how good these guys could be if they had heads.
On Apr 26, 2011, at 1:13 PM, David van Ooijen wrote:
I'm sure it'll be authentic one day, if we wait long enough:
http://www.youtube.com/watch?v=J8CrDkOlhEI
David
--
***
David van Ooijen
Very nice. Is there some idiomatic meaning to Die Gezeiten des Walden that
the English Tides of the Forest doesn't translate?
On May 5, 2011, at 8:13 AM, Anton Höger wrote:
hi,
for all of you who want to hear a composition of me
here is a youtube link
On May 15, 2011, at 8:58 AM, adS wrote:
By the way, Robert Johnson died on 18.Nov.1633.
Is it too late to send flowers?
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Is anyone aware of evidence, other than Kremberg's 1689 book, for the guitar in
German-speaking lands before about 1750?
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Very interesting source. Thank you.
On May 16, 2011, at 9:33 AM, Andreas Schroth wrote:
I found this page:
http://www.studia-instrumentorum.de/MUSEUM/GITARREN/QB/git_qt_dtsch.htm
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On May 27, 2011, at 2:53 PM, Sean Smith wrote:
Guitars in the early 20th century used metal frets and gut together, I
presume.
And in the 19th century.
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On Jun 7, 2011, at 4:24 PM, Stewart McCoy wrote:
The words come and die have two meanings.
If you're suggesting that come has an orgasm-related secondary meaning, I
think you're centuries early. I'm pretty certain Dowland would not have
started with Come again if he thought it meant have a
On Jun 8, 2011, at 6:36 AM, Catherine Arnott Smith wrote:
Re: come in the sense of orgasm: One of my research areas is the use of
obscenity to describe health concepts, so I happen to have encountered this
question before. The OED Third dates this usage to before 1650 and
Partridge's
The digital OED 3rd, however, gives this as meaning # 17, To experience
sexual orgasm. Also with off. slang.
and cites
a1650Walking in Meadow Green in Bp. Percy's Loose Songs (1868) , Then
off he came, blusht for shame soe soone that he had endit.
[A1650 means the usage
On Jun 19, 2011, at 9:41 AM, be...@interlog.com wrote:
Is anyone aware of any good articles about Bach as an improviser -
contemporary commentary, modern analyses of toccatas/fantasias, etc?
Most of the contemporary accounts are in The Bach Reader, some of them in the
Bach as Seen by His
On Jun 25, 2011, at 2:44 PM, David Tayler wrote:
For the Trauerode, if memory serves, you need some chromatic notes.
When I recorded it I tuned my D to C and tuned a few chromatic notes
in the long strings.
Gorgeous music!
Of course it could be for two lautenwerken.
Bach had several,
On Jun 27, 2011, at 4:34 PM, Leonard Williams wrote:
This discussion of breaking pitch has me wondering: Knowing the breaking
pitch of gut, can we use the rule of tuning a treble to just below breaking
pitch to determine at about what pitch lutes were tuned historically?
Not really.
You'd
On Jul 1, 2011, at 12:32 PM, wikla wrote:
30 year old Pyramids on the 3 lowest basses - worn out enough not to be too
loud and ringing.
Don't you love those? If Pyramid starts selling pre-aged strings they could
recapture the HIP market.
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On Jul 2, 2011, at 6:27 AM, be...@interlog.com wrote:
Do it! My guess is Bakfark would have liked to have his music played with a
few notes missing, or on open courses, than not played at all. And I
guarantee you that no audience member will know or care, ever. Unless they
have taken part
On Jul 2, 2011, at 12:22 PM, Monica Hall wrote:
If there is such a word it should be gynAEcentric.
cf. gynaecology, gynaeceum etc
Ms. Cusick knowledge of Greek is evidently somewhat lacking.
Perhaps she was writing in English.
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On Jul 2, 2011, at 7:01 PM, Roman Turovsky wrote:
In fact a public expression of feelings through the choice of c-minor for his
Great Mass did cost Mozart his job in Salzburg.
What cost Mozart his job in Salzburg was that he didn't want it. He insisted
that he be released, and it took
On Jul 3, 2011, at 4:51 AM, Monica Hall wrote:
Or American? Do you refer to Gynocology in the States?
I rarely refer to gynecology, regardless of what state I'm in, and I would
definitely avoid the word in Utah, especially on a Sunday. I sometimes refer
to my wife's OB guy.
You might be
- From: howard posner howardpos...@ca.rr.com
TOn Jul 2, 2011, at 7:01 PM, Roman Turovsky wrote:
In fact a public expression of feelings through the choice of c-minor for
his Great Mass did cost Mozart his job in Salzburg.
What cost Mozart his job in Salzburg was that he didn't want
On Jul 3, 2011, at 8:13 AM, Monica Hall wrote:
Which is American. I checked the Complete Oxford Dictionary on-line and all
the sources it quotes seem to be American
You seem to imply that if they're American, they don't count...
Well - we all know Americans spell things in a funny
On Jul 3, 2011, at 8:18 AM, Roman Turovsky wrote:
That may very well be so, but a Mass does not have to complete to be a
full-blown slap in the face of the ecclesiastical taste. And eccessive
melancholy has always been viewed with suspicion by the authorities. Still is.
I no longer know
On Jul 3, 2011, at 12:09 PM, Karen Hore wrote:
In mild defence of the inhabitants of that collection of islands with toes in
the North and Irish Seas, the Atlantic Ocean, and that much quarrelled over
stretch of water La Manche/The English Channel. Their venerable
lexicographical
On Jul 4, 2011, at 11:08 AM, David van Ooijen wrote:
I have a smallish archlute to my
own specs, tailored for 440 jobs and easy transport. Very convenient.
You mean to say you have a largish archlute, too big to play at 465, where you
ought to be doing Monteverdi and other Venetian and
On Jul 17, 2011, at 8:30 AM, Roman Turovsky wrote:
no, baroque lute requires a lot less physical labor: fewer notes, more space
between them.
Roman will correct me if I'm wrong, but I believe it's still the case that he's
never played renaissance lute.
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On Jul 17, 2011, at 2:24 PM, sterling price wrote:
Just because the baroque lute has more
strings doesn't automaticly make it harder to play. If that were true the
piano
would be the most difficult of all.
If you try playing the piano using nothing but your right thumb on the bottom
44
On Aug 6, 2011, at 12:15 PM, Edward Mast wrote:
The only current maker whose instruments I have played and can absolutely
recommend is Dan Larson, but I think his wait time is rather long right now.
Others listed in the Lute Quarterly are Richard Fletcher, David Fitzpatrick
and Ken
On Aug 10, 2011, at 1:42 PM, theoj89...@aol.com wrote:
Take great care with stretching exercises of the hand!! I deal fairly often
with musicians' injuries, and musicians are nearly as bad as competitive
athletes as far as abusing their bodies to try to get better performance.
Remember
On Aug 16, 2011, at 8:37 AM, Ron Andrico wrote:
I share your puzzlement at how Besard could have been so careless,
especially in his ensemble writing.
It's puzzling only if you assume he had control of the finished product. He
may never have seen a proof.
In any case, the early days
On Aug 18, 2011, at 2:47 AM, William Samson wrote:
We all know what happened to
Robert Schumann's right hand when he tried to use some sort of device
to pull his fingers apart.
We don't, and he didn't. It's a myth caused by adding two and two and getting
nine.
Cordially yours,
Howard
On Aug 18, 2011, at 10:52 AM, William Samson wrote:
Incidentally I think I prefer the myth and it's much more memorable than the
truth.
Really? Would you still think so if I told you the truth was that an aardvark
bit Schumann's right index finger?
--
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On Aug 18, 2011, at 11:03 AM, William Samson wrote:
PS What was he doing to the aardvark? That could be interesting too.
He was biting the aardvark, obviously. Aardvarks never bite pianists except in
self defense.
--
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On Aug 27, 2011, at 7:12 AM, Stephen Stubbs wrote:
Just another example of the Social Justice experiment still going on in USA.
Basically,
Corporations are Bad.
Social Justice is Good.
The last major Social Justice experiment made it all the way into the USA
Constitution as the 18th
On Aug 28, 2011, at 2:29 PM, Garry Warber wrote:
I'm thinking theorbo purchase... Where does one get a nylon theorbo
14-course string set?
Never mind the strings; where did you find a nylon theorbo?
I measured my 8-course lute strings, which went
from 100cm to 110cm; obliviously too
This discussion would make a lot more sense if posters explained what gut is
being compared to. In some cases, it's overwound strings, and in others, it's
plain nylon.
On Aug 30, 2011, at 5:00 AM, andy butler wrote:
Are there any players who reckon that damping is essential?
Tympanists,
On Aug 30, 2011, at 1:45 AM, Rob MacKillop wrote:
However, from the dimmest corner of my memory bank,
I think Mersenne (or someone else!) indicated the bass strings should
have a sustain of 20 or so heartbeats [forgive me if I am getting this
all wrong!]. How long that might be depends
On Oct 11, 2011, at 7:36 PM, JOSEPH CALABRESE wrote:
My first attempt at a youtube recording: the prelude and fugue from Bach BWV
995.
Recorded with a cheap stereo microphone plugged into a video cam (sorry).
Piece still needs a lot of work but I thought I would share my initial
On Oct 19, 2011, at 2:09 AM, William Samson wrote:
I have heard that 'luth o cembal' was perhaps a keyboard instrument
that sounded like a lute - I've even heard it suggested that it was a
harpsichord strung in gut, but I very much doubt the feasibility of
such an instrument - It
If your paper doesn't have 9 Chickweed Lane you can catch the October 21
strip here:
http://www.gocomics.com/9chickweedlane/2011/10/22
It isn't the first time the lute family has appeared in it.
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I meant October 22, obviously.
On Oct 22, 2011, at 5:09 PM, howard posner wrote:
If your paper doesn't have 9 Chickweed Lane you can catch the October 21
strip here:
http://www.gocomics.com/9chickweedlane/2011/10/22
It isn't the first time the lute family has appeared
On Nov 4, 2011, at 2:29 PM, William Samson wrote:
Wasn't it Pascal who wrote Sorry this letter
is so long - I didn't have time to make it shorter.
Reverend fathers, my letters were not wont either to be so prolix,
or to follow so closely on one another. Want of time must plead my
excuse
On Nov 4, 2011, at 2:58 PM, Ron Andrico wrote:
Not Pascal but good old George Bernard Shaw, who also reviewed concerts with
a certain measure of wit.
I've seen it attributed to Shaw, Mark Twain and Oliver Wendell Holmes, not very
specifically or reliably.
The Provincial Letters were a
If anyone's being obscure, it's not Purcell. The poem is the 20th stanza of a
French poem, La Solitude A Alcidon
translated by the 17th-century English writer Katherine Philips, who published
under the name Orinda. You might want to look over the first 19 stanzas.
You can find the French and
On Nov 8, 2011, at 12:34 PM, jsl...@verizon.net wrote:
But isn't it really just a pun by Purcell on Apollo's lyre?
Yes (and now that you mention it, I wonder if lyre and lore would have
sounded more alike to Londoners in 1685 than they do to us), but a pun needs
two expressions that each
Christopher Stetson wrote:
It also has been declared by someone to be Nigel Tufnel Day, after the
member of Spinal Tap with the special amplifier which has eleven.
For the few who might not know the bit:
Nigel Tufnel: The numbers all go to eleven. Look, right across the board,
eleven,
You could try the sound of one hand clapping exercise: thrust the fingers out
to full extension and and then clap them into your palm. It's actually an
excercise to strengthen an speed up the extensor muscles, but it helps
circulation. So do jumping jacks, and drumming bongo-style on some
On Nov 17, 2011, at 12:04 PM, Monica Hall wrote:
Light the end of one with a match. It will be obvious pretty quickly
if they are gut or synthetic.
My guitar didn't go up in smoke when I tried it so presumably they are
genuine. Sigh of relief.
I'm pretty sure that when he wrote,
On Nov 20, 2011, at 7:07 AM, Monica Hall wrote:
. I prefer the simplicity of a 13 course Baroque
lute; and I tell no one that I string my 6th course in unisons- direct
violation of Canon Law.)
A good many players seem to be unaware of such a law. At an LSA some years
ago, when loaded
On Nov 23, 2011, at 12:22 PM, Monica Hall wrote:
Sad indeed. she can't have been that old.
She was 69
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On Nov 23, 2011, at 4:30 PM, ml wrote:
May I correct: she was born in 1948, so she was 63, not 69
15 March 1942, according to everything I've seen. See:
http://www.gramophone.co.uk/classical-music-news/montserrat-figueras-has-died
The Savall/Figueras website home page says In Memoriam
On Nov 25, 2011, at 5:04 AM, Anthony Hind wrote:
Mathias
I have unissons on the 5th course of my 7c lute, but octaves on my
fourth, but perhaps I have missed something.
Only that your stringing is very unusual, if not unique.
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I'm looking for a picture of an early chitarrone which, instead of an extended
neck, had an extended body with two bridges (by one of the Tieffenbruckers, I
think). Can anyone direct me to one?
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On Nov 25, 2011, at 10:37 PM, Diego Cantalupi wrote:
you can find a picture here, in my dissertation about chitarrone:
Thank you, Diego. I downloaded your dissertation months ago, but with my
limited Italian, it might have taken the rest of my life to get to page 38.
The instrument is even
On Nov 26, 2011, at 6:51 AM, heiman.dan...@juno.com wrote:
Pity that there does not appear to be a photo of the instrument on the
website of the Kunsthistorisches Museum where it resides.
Maybe they think it's an embarrassment.
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On Dec 1, 2011, at 2:08 AM, Martyn Hodgson wrote:
why would you wish to transpose the lute part at all?
I can claim no particular great expertise on the subject of transposition
motivation, but could it be in any way possible (and I know this sounds crazy)
that the idea of transposition comes
On Dec 2, 2011, at 12:29 AM, Martyn Hodgson wrote:
Have you anything constructive to add to the exchange?
No; once you've told us that transposition is unnecessary because almost half
the singers who'd want to sing the music can do it without transposition,
you've said it all.
--
To get on
On Dec 2, 2011, at 11:19 AM, Roman Turovsky wrote:
And speaking of such truly accomplished singers as Karamazov:
He tends to have 4-6 archlutes on hand, for various minute instant
adjustments of performance.
I guess that works if you have a large car and are very generous in tipping
On Dec 2, 2011, at 1:44 PM, Roman Turovsky wrote:
you know of the community's unease of accepting ET.
We're more accepting of it than Dowland was.
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On Dec 3, 2011, at 4:10 AM, Konstantin Shchenikov wrote:
My friends and me have played a concert.
Here is songs by John Dowland:
http://www.youtube.com/watch?v=hcleEbnXqCM
http://www.youtube.com/watch?v=ycL4JaKHY6s
http://www.youtube.com/watch?v=1AB54nH3Zac
What do you think about it?
On Dec 4, 2011, at 11:08 AM, David van Ooijen wrote:
I've noticed some lute songs become easier down a tone. Particularly
Morley songs. I always wondered about his songs - were they written a
tone lower but publisehd a tone up?
Remember that Morley did not play the lute. He said he had
For those who didn't get my highly erudite reference, try this:
http://www.funnyordie.com/videos/d58d400423/spanish-inquisition-by-monty-python-from-greatest-comedy-sketches
On Dec 5, 2011, at 2:50 PM, wikla wrote:
What is that? Tell us more what you know of the Dubuts, Howard!
Fear,
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