[LUTE] Re: This list is ending soon!

[Jim Dunn]

   Thank you so much Wayne â a reliable source of help, knowledge and
   entertainment. Three cheers for Wayne!

   On 30 Sep 2020, 12:14 +0200, Wayne Cripps ,
   wrote:

 Hi Lute People -
 The Dartmouth lute list is ending in less than three hours. I
 certainly have learned a lot from all of you and I thank you all for
 taking part in it.
 Wayne
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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[LUTE] Re: Le Luth Doré

[Jim Dunn]

   Yes, ordered a couple of editions from them earlier in the year.
   Received both a PayPal receipt and an automated receipt from their
   webshop. The order took a few months (mostly due to COVID/La Poste I
   think), but Miguel was responsive and nice over email when I had
   queries about this, so I would send them an email if you are unsure.
   Jim

   On 8 Sep 2020, 16:02 +0200, Rainer , wrote:

 Dear lute netters,
 has anybody ordered something form Le Luth Doré ?
 I have placed an order and already paid via PayPal but not received
 an order confirmation.
 Rainer
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[LUTE] Re: prostitution

[Jim Dunn]

   I'd say it's more than likely named for prostitutes, and Purcell very
   likely wrote the dirty stuff, especially after the Chapel Royal purge
   forced him to chase other income streams⦠Plus wan't he supposed to be
   rather fond of singing in the pub?
   I think we often underestimate the place of the bawdy in Early Modern
   life and its sense of humour â the ever prevalent protest of the pious
   can go some way to indicating how rude everyday life was for most but
   the very top strata of society. In a city you were pretty much pressed
   up against various bodily functions and those who service them, and the
   satire they inspire as well as the battle against them seem just as
   present. After all, Pepys is a lusty gent, and the British at least had
   a great love of saucy anatomical street names...
   When thinking of past sexual morality I'm often reminded of a 17th C
   German prayer sheet (on p. 106 here [1]https://bit.ly/2M6Guml ) where
   Christ's wounds and a nail are pretty unashamedly sexed up, as if to
   repurpose sexual feeling as devotion. I'm not saying that this reveals
   any pious motivation behind any naughty tunes by Purcell or Lasso or
   others, but I do think it's revealing about how both sacred and sexy
   were on people's minds enough that someone would try to reconcile them
   so awkwardly.
   Doesn't do it for me though *quietly vomits*

   On 10 Aug 2018, 13:07 +0200, r.turov...@gmail.com, wrote:

 Another Purcell item, priceless-
 "On the night he was wedded quoth Inigo Jones etc,
 ..in I go Jones!"
 Sent from my iPhone

 On Aug 10, 2018, at 5:37 AM, Alain Veylit
  wrote:
 I seem to remember reading about Purcell being particularly targeted
 by this kind of mirthy-ful mis-attribution. My memory can well be
 wrong. Most of Purcell's music was published posthumously and it was
 very prolific (800 works for someone who died at age 36). Playford,
 the publisher of the Orpheus Britannicus, may have had an interest
 in stretching the attributions of (particularly bawdy) pieces to a
 famous and respected musician, if only just for fun and financial
 gain --
 I am a little bit suspicious that such a high brow musician could
 also be the celebrated author of so many popular tavern songs. It is
 not impossible that he actually wrote 200 songs and 50 catches, all
 the while composing more serious stuff on the side just to make a
 living, but it does not seem impossible either that among those 250
 very profane works some popular tunes directly issued from the
 taverns found their way under his name, for sheer publicity
 purposes. "Pox on you" and the "Indian queen" might be the fruits of
 the same mind, but did he have time to do both really? I admit I
 don't have any solid proof, but I am also highly suspicious of
 English publishing practices at the time (before the first
 copyrights law) . I would be happy to be proven wrong and recognize
 a truly ubiquitous genius. Also, theater music was definitely a
 source of income, but catches were unlikely to provide much
 financial support to the composer, while they would be for a
 publisher.
 Just imagine if J.S. Bach was credited by a contemporary publisher
 with a song entitled "Once, twice, thrice, I Julia tried", would
 that raise an eye brow?? Just curious: did Mozart compose anything
 we'd consider "bawdy" or tavern material?? Or other composers,
 besides Lasso??
 On 08/09/2018 10:06 PM, howard posner wrote:

 On Aug 9, 2018, at 9:15 PM, Alain Veylit 
 wrote:
 Like Henry Purcell, who seems to have found his name attached to a
 very large number of bawdy songs in 17th century England, if I
 recall correctly.

 Is there any reason to think he didn't write the music for all those
 catches? I'm not aware that his authorship has ever been questioned.
 He lived in an age of relaxed sexual mores and worked a great deal
 in the theater.

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References

   1. https://bit.ly/2M6Guml

[LUTE] Re: New music

[Jim Dunn]

   As the lute becomes slowly more popular, I think we'll see more
   contemporary lute music popping up equally slowly (I think lutes in
   their various guises have a very interesting tonality and set of
   limitations to compose for, I'm enjoying making my own ham-fisted
   efforts at least...)
   Meanwhile, not necessarily all 'new' material, but I've been enjoying
   Peter Söderberg's three contemporary lute records:  20th century stuff
   like Cage, Tenney, Stockhausen etc, as well as recordings of more
   recent things written specifically for lute. The non-lute material he
   has selected comes over very well in my opinion.
   Here's to more!

   On 22 Dec 2017, 00:21 +, Eric Hansen ,
   wrote:

 Hartt School composer David Macbride composes solo lute music for
 me, a
 total of 13 pieces as of this writing. I played one of them at the
 Lute Society Seminar in Cleveland a few years ago, it's up on
 YouTube.
 He and I have begun to record the pieces, a few at a time.
 Best to all,
 Eric
 On Thu, Dec 21, 2017 at 5:38 PM, Jacob Johnson
 <[1]tmrguitar...@gmail.com> wrote:
 I don't think that's entirely accurate. Ronn McFarlane plays his
 own
 compositions, Jakob Lindberg performs the Britten Nocturnal (I
 know,
 it's not that new, and it's not really for lute, but IMO it kinda
 counts), Chris Wilke recorded a whole cd of Roman Turovsky's new
 works
 for baroque lute, I saw Elizabeth Kenny perform TWO recent
 theorbo
 commissions at the LuteFestWest, and there's certainly more
 examples I
 just can't think of at the moment.
 As soon as I can afford to do so, I intend to commission some
 works for
 myself to play.
 Jacob Johnson
 [uc?export=downloadid=0B6_gM3BRE6ZrYVVZZU5QNmJqdDQ&
 amp;revid=0B6_g
 M3BRE6ZraW9nQ2U4SGNwV0tYVWxobnNBVjBsZi9FNHhzPQ]
 Guitar/Lute
 [1][2]www.johnsonguitarstudio.com
 [3]469.237.0625.
 On Thu, Dec 21, 2017 at 4:12 PM, Christopher Stetson
 <[2][4]christophertstet...@gmail.com> wrote:
 Hello all.
 An interesting question, Peter, thanks for bringing it up.
 To
 answer
 honestly and personally, I'm not especially interested in new
 music,
 per se, for any of the instruments I play (mainly lute, guitar,
 mandolin, but some others too). I couldn't really say why,
 except
 that the music I've looked at from the last 30 years tends, and
 I
 mean
 tends, to be difficult and not especially tuneful to my ear.
 There
 are exceptions, of course, and I play some of those, though
 mostly on
 guitar. I'm not a professional, so I tend to be fairly
 conservstive
 in the music I choose to spend time seeking out and playing.
 I
 also
 don't play many of the old compositions that fit the above
 criteria.
 I fully realize. however, that one person's difficult is
 another
 person's interesting, and I'm really glad that people are
 writing
 new
 music for lute.
 Best to all, and keep playing,
 Chris.
 On Thu, Dec 21, 2017 at 2:34 PM, Peter Martin
 <[1][3][5]peter.l...@gmail.com
 wrote:
 Hello all,
 I recently bought a Wigmore Hall Live CD of a 2013 concert
 by
 countertenor Iestyn Davies and lutenist Thomas Dunford.
 It
 included
 the world premiere performance of a substantial piece by
 Nico
 Muhly
 called Old Bones. Up to now, I'd never heard of it,
 which
 surprised
 me because Muhly is a very successful young American
 composer.
 His
 new opera Marnie has just premiered at English National
 Opera,
 and his
 previous opera Two Boys was given at ENO and at the Met in
 New
 York.
 The score of Old Bones is available from Music Sales.
 Yet I
 can't see
 that the lute world has paid the slightest attention to it.
 Which sets me wondering, not about Muhly as such, but about
 new
 music
 generally. With the honourable exception of Jacob
 Heringman,
 scarcely
 anyone plays it. Any thoughts on why this is? Are
 we
 simply
 not
 interested in new music?
 Peter
 --
 To get on or off this list see list information at
 [2][4][6]http://www.cs.dartmouth.
 edu/~wbc/lute-admin/index.html
 --
 References
 1. mailto:[5][7]peter.l...@gmail.com
 2. [6][8]http://www.cs.dartmouth.
 edu/~wbc/lute-admin/index.html
 --
 References
 1. [9]http://www.johnsonguitarstudio.com/
 2. mailto:[10]christophertstet...@gmail.com
 3. mailto:[11]peter.l...@gmail.com
 4. [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 5. mailto:[13]peter.l...@gmail.com
 6. [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
 Eric Hansen
 Librarian & lutenist
 --
 References
 1. 

[LUTE] Attiorbato recordings

[Jim Dunn]

   Hello all,
   I'm considering getting hold of an attiorbato, and in the interests of
   some pre-purchase research (gulp), I'd like to get a feel of the
   tonality of the different body shapes.
   Thinking specifically of lutes based on the Sellas or Koch designs,
   does anybody know of any relevant recordings of each? There's a
   smattering of stuff on YouTube, but I'd like to listen to more to
   immerse myself in it a bit (plus most of the YouTube numbers are
   smothered in horrible compression artefacts).
   Thanks all,
   Jim

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[LUTE] Re: Marsh flavoured Chi Passa

[Jim Dunn]

   Hi Rainer,
   Sorry, I should have said; the offending Chi Passa has been found.
   Thanks Rainer, and thanks to all for their help!
   Jim

   On 2 Mar 2017, 17:01 +, Rainer <rads.bera_g...@t-online.de>, wrote:

 Which one?
 There are several Chis Passas in this source.
 Rainer
 On 24.02.2017 13:09, Jim Dunn wrote:

 Hello all,
 Does anybody know where I can get hold of tablature for the version
 of
 Chi Passa in the Marsh Lute Book? My internet searches are drawing a
 blank...
 Thanks in advance!
 Jim
 --
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[LUTE] Re: Marsh flavoured Chi Passa

[Jim Dunn]

   Oh god are there? I had no idea! It's the one on page 251 I believe.
   All the best,
   Jim

   On 24 Feb 2017, 12:50 +, Matthew Daillie
   <dail...@club-internet.fr>, wrote:

 Which one, there are about 10 versions of Chi Passa in the Marsh?
 Best
 Matthew
 On 24/02/2017 13:09, Jim Dunn wrote:

 Hello all,
 Does anybody know where I can get hold of tablature for the version
 of
 Chi Passa in the Marsh Lute Book? My internet searches are drawing a
 blank...
 Thanks in advance!
 Jim

   --


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[LUTE] Marsh flavoured Chi Passa

[Jim Dunn]

   Hello all,
   Does anybody know where I can get hold of tablature for the version of
   Chi Passa in the Marsh Lute Book? My internet searches are drawing a
   blank...
   Thanks in advance!
   Jim

   --


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[LUTE] Re: New lutenist looking for a first instrument

[Jim Dunn]

Hello John,

I echo David van Ooijen's recommendation that you hire one first! When I 
started that didn't occur to me unfortunately, so I thought I'd share my 
experience with the budget end of the market...

The first lute I had was a Pakistani made lute of the same variety that the 
sell at Thomann, the site David Morales mentions; and I would agree with him on 
that. Avoid it like the plague – it was huge and completely unplayable. I 
struggled on with it for a while thinking that perhaps I was just terrible, but 
came to the conclusion I should try another before giving up. So instead I 
purchased an Early Music Shop lute, and although I'm acutely aware of it's 
limitations, it is so very much better. It is, as you will read everywhere, 
heavier than a luthier made lute, but when the strings were replaced its sound 
was actually quite pleasant! It's required a little bit of work to make it 
better; work on the nut and replacing the frets etc, but there are some good 
tips on improving it here which you may be aware of already: 
http://john.redmood.com/improvebargainlute.html

Nonetheless, if you can afford better, definitely go better!

I've never handled the Turkish lutes you mention, but I have read that they are 
pretty heavily constructed and a bit more Oud-like. Looking at their price 
point, I'd question if they are worth it; the price is getting towards what a 
luthier made renaissance student lute would be here in the UK (as an example, 
here's one made by James Marriage http://www.jminstruments.com/instruments.aspx 
). 

Good luck,

Jim


> On 4 Nov 2016, at 09:23, Jack  wrote:
> 
> Hello all,
> 
> My name is John Yentes.  I have been a classical guitarist and violist for 
> many years (among many other instruments) and am beginning my foray into the 
> world of the lute.  I am currently living in Japan and am wondering if anyone 
> knows of or is selling a used instrument that I could purchase or perhaps if 
> you might also know of some less expensive luthiers for decent quality 
> instruments.  I don't mind buying something a bit less than perfect as I have 
> already resigned myself to the idea of visiting a professional who can adjust 
> the instrument for my own specific needs.  I'm looking for an 8 course lute 
> or perhaps a baroque lute.  I'm not quite sure which I would prefer to start 
> with, but I would be very grateful for any information I could acquire in 
> regards to the pros and cons of starting on either instrument respectively in 
> regard to my previous experience as a guitarist .  My budget is only about 
> 1500 dollars. I have found some lutes on eBay from a Turkish maker named !
 Sa!
> adettin Sandi and his son.  Apparently they are of fairly good quality from 
> what I have read.  I have also been considering some instruments from the 
> early music shop.  If anyone could provide any info for me, I would greatly 
> appreciate it.  I enjoy listening to music from the Italian renaissance such 
> as Piccinnini and I also enjoy Dowland quite a bit.  I am well versed in the 
> works of baroque music available for the lute as well though, so perhaps what 
> I am after is an instrument that can play a bit of everything or at least has 
> some degree of versatility.  Thanks for reading and I hope to hear back from 
> some of you.
> 
> 
> John
> 
> Sent from my iPhone
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Rosseter Ayre

[Jim Dunn]

Hello all,

I’m very much a beginner in rooting around in the repertoire/manuscript 
knowledge, so a question: 
I remember once hearing a solo lute arrangement of Rosseter’s ‘What then is 
Love but Mourning” (although I may have imagined it…). Does anyone know if such 
a thing exists? If so where might I find it?

Thanks!

Jim



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[LUTE] Re: What If A Day lyrics

[Jim Dunn]

I read it as  a ‘the earth is tiny in the heavens, and a man is tiny compared 
to the earth, so get over yourself’ type of statement…

Jim


> On 10 Sep 2015, at 10:28, Rob MacKillop  wrote:
> 
> Does anyone have any idea what the following excerpt from What If A Day Or A 
> Month Or A Year means? It has left me scratching my head...
> 
> "Earthes but a point to the world, and a man
> Is but a point to the worlds compared centure:
> Shall then a point of a point be so vaine
> As to triumph in a seely points adventure?"
> 
> Rob
> 
> www.robmackillop.net 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html