On Jul 11, 2008, at 10:51 AM, Stuart Walsh wrote:
Anyway - some amateur performances on a guitar which has absolutely
nothing to give to the world - of some Foscarini pieces (possibly a
bit unexpected):
I clicked on the link and got a message that This is a private
video, accompanied
On Jul 11, 2008, at 11:36 AM, Stuart Walsh wrote:
Really?
this:
http://www.vimeo.com/1322063
The same
My performance is not so good but is it really bad enough to be an
obscenity?
That's what inquiring minds want to know
I joined vimeo following a link put up by Rob. I thought
On Apr 25, 2008, at 7:16 AM, Martyn Hodgson wrote:
cannot we assume that, like with lutes, the first course of guitars
were pitched as high (or at least not too far off) as they co=
uld reasonably bear.
You can only assume this if you also assume the lack of a high octave
on the
On Apr 24, 2008, at 3:36 PM, Stuart Walsh wrote:
Monica's position is rather like mysterianism in the philosophy
of mind. It's all just one big mystery: the stringing , the
tuning, the performance practice of the seventeenth century
guitarists- the existing evidence points anywhere
On Sep 11, 2007, at 3:12 AM, Monica Hall wrote:
I'm reviewing a CD of music by Castaldi. It has on it an
extaordinary piece - a setting of a letter addressed by a Jewish
women, Heleazaria, to the Emperor Tito Vespasiano during the Seige
of Jerusalem which occurred in about 70 A.D. In
It is indeed the Laurens/Dumestre recording. Have you heard it.
Seguro que si. My review of it ran in the May 2004 LSA Quarterly.
That's why I was casting about asking the same questions you're
asking now.
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LGS-Europe wrote:
I have just bought a cd of the 16 july1954 concert in Madrid of Rosa
Barbany, soprano, and Emilio Pujol on vihuela (!) in a programme of
Spanish
songs. Terrible sound quality,
If this was a live concert, Pujol may simply have been pushing hard to
play louder and become
On Sunday, Apr 16, 2006, at 14:06 America/Los_Angeles, Arto Wikla wrote:
I woud say Carlos V.
i.e. Charles V of the Holy Roman Empire, or Chuck Five as his close
friends called him.
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David Rastall wrote:
Also Chuck One of Spain, right? ( No doubt called that
by a different set of close friends!) Son of Juana la Loca and
father of Phillip II.
The same.
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Jon Murphy wrote:
What are distant keys?
Keys that have few notes in common with the home key. A piece in C
major will typically modulate to G or F or minor, but gets far afield
if it drifts into A-flat or F-sharp, and in any equal temperament those
sections will sound dissonant and
Craig Allen wrote:
But remember that Dowland too wrote music that if not actually
melancholy was downright morose. If he were alive today he'd be taking
anti-depressants and his doctors would have him on a suicide watch.
No more than they would call Quentin Tarantino a homicidal maniac.
Monica Hall wrote:
This is what puzzles me a bit as I can't see the advantage of having a
long
string length for accompanying.
Interesting that you're saying this a few days after Benjamin Narvey
posted Linda Sayce's article arguing, in essence, that theorbos with
short string lengths
Monica Hall wrote:
The string length however is only really relevant in so far as this
has any
bearing on it's authenticity. I would question whether a female
player, who
probably didn't have the technical ability of Rolf Lislevand, would
have
been able to play anything meaningful on
Monica Hall wrote:
On reflection, as a member of the fair sex I am a bit sceptical about
this
(as with everthing else!).I would find it impossible to play even
the
simplest of music on an instrument with a string length of 72.7.
You need to have a chat with Lynda Sayce.
To get on
Monica Hall wrote:
I
can't see either why there should be any advantage in having a longer
string
length when accompanying, unless it is to tune to a lower pitch. This
is
not necessary if you are a member of the fair sex accompanying yourself
either.
But an alto singing a song written
bill kilpatrick wrote:
do you mean to infer that repertoire is the deciding
factor?
The word you're looking for is imply, and I'd say the answer to your
question is no. Garry was not implying, but rather assuming, that an
instrument useless for playing vihuela music is not a vihuela. That
bill kilpatrick wrote:
i don't
think i'll ever get you to acknowledge the historic
validity of my cute little chordaphone of choice
Nobody here has said that the charango doesn't have historical
validity, although we do have one crank on the list who seems to have
such a low opinion of
bill kilpatrick wrote:
playing this music on a charango - or ukulele
if it comes to that - is not useless. nor are single
voice melodies from more complex compositions played
on whatever comes to hand.
My point is that if you can't play vihuela music on it, it's not a
vihuela. This is
bill kilpatrick wrote:
crank? ... pummeling the baroque guitar supporters?
... wuffing up the renaissance guitar list? ... crank,
(something) and wanton wiles? ...
calm down.
I'm perfectly calm, I assure you. I said you were a crank because you
fit the dictionary definition. The other
Monica Hall wrote:
I think we need to be very cautious about all the illustrations in the
vihuela books as the engravers are often incompetant and unreliable,
Or not paid enough to make it worthwhile or just not interested in
putting a lot of accuracy and detail into a tiny picture. The
On Saturday, Oct 22, 2005, at 03:24 America/Los_Angeles, bill
kilpatrick wrote:
guitar history properly begins with the appearance of
the first
written score for the instrument.
If you said this about the lute, you'd be wrong by centuries. If you
said it about most other instruments, you'd
bill kilpatrick wrote:
unless i have it completely wrong, i play oud using
style brisÈ - alternating tremolo, sometimes in
continuo, between individual notes which together
comprise a simple chord (in the case of the oud) made
with two notes.
I'm not sure what you're trying to say, but
Eugene C. Braig IV wrote:
An utter lack of corroboration in extant European instruments. I don't
know why people would feel obliged to justify the worth of American
instruments by insisting they are their European parallels/conceptual
ancestors. I still don't understand why this debate goes
RTHUR NESS wrote:
I still do not understand its significance as the title of a guitar
treatise
Light [or Lantern] and North Star, as in a guide in the dark.
HP
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bill kilpatrick wrote:
is dedillo the same as redobles - fast, single line
passage(s)?
No. Dedillo is a way of playing passages of that sort using only the index
finger, presumably in the manner of a plectrum. It's occasionally marked in
vihuela sources.
HP
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bill kilpatrick wrote:
all i have is the internet. i didn't study music at
school and i don't have access to a library - i'm
totally dependent on you for information.
Yet remarkably resistant to the information that's offered.
the fact that you knew (collectively - i assume most
of you
Stanley Yates wrote:
Yet, as far as I know, there is no single statement to be found among the
perfromance practice sources of the period that discusses the modern concept
of differentiated plucking on an octave-strung course. This is not to say
that master guitarists of the time didn't do
Monica Hall wrote:
And why not? We shouldn't
worry too much about authenticity. Communicating with the listener is
more important.
Making assumptions about the thought processes of people who disagree with
you is a fool's game. That's why it succeeds as a persuasive device only in
politics.
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