As you command. -----Original Message----- From: Roman Turovsky [mailto:[EMAIL PROTECTED] Sent: Sunday, April 03, 2005 8:50 AM To: Stuart LeBlanc; lute net Subject: Re: cinematheque (was RE: mesmerization)
> Haven't seen any of his work yet, although Il Posto has been on my list for a > while. In lieu of that, Umberto D. is the most heartbreaking story I have > ever > watched on film. Get it, ASAP, as well as I FIDANZATI, and L'ALBERO DEI ZOCCOLI. RT -- http://polyhymnion.org/torban > > -----Original Message----- > From: Roman Turovsky [mailto:[EMAIL PROTECTED] > Sent: Saturday, April 02, 2005 6:56 PM > To: Stuart LeBlanc; lute net > Subject: Re: mesmerization > > >> I'm delighted we agree on that, but I would have expected you to be more >> excited >> about Andrei Tarkovsky! > How 'bout Ermanno Olmi????? > RT > -- > http://polyhymnion.org/torban > > > >> >> Nontheless I will sleep easily tonight, knowing that I have done my country a >> great service. >> >> >> -----Original Message----- >> From: Roman Turovsky [mailto:[EMAIL PROTECTED] >> Sent: Saturday, April 02, 2005 6:10 PM >> To: Stuart LeBlanc; lute net >> Subject: Re: mesmerization >> >> >>> No disrespect intended Joseph, but you might read my message again more >>> carefully. >>> >>> If you want to know what my experience with guitar is you can take a look at >>> http://www.stuartleblanc.org/music.htm >> Hey, Stuart, >> You have Ozu on your hero list. You just raised my hope in this country >> 200%! >> RT >> >>> >>> >>> Well, normally I would consider this as too far out to engender a >>> reply...But... >>> >>> Let's see if understand the point: You'er saying that if the lute were >>> to be included in every piece of music in which it could be included, >>> that that would be an enormous repertoire. I'll have to agree. It would. >>> (sort of like saying, "If the lute's repertoire was much larger, it >>> would be much larger.") >>> >>> The guitar does suffer from only being included in duos with the flute, >>> violin, viola, 'cello, voice, piano, string quartet, and orchestra - to >>> name but some - so I guess you're right on both counts. (please read the >>> tone as slightly bewildered sarcasm) >>> >>> I think you may be in dangerous territory - the proverbial "glass house" >>> - to call the guitar community incestuous. >>> >>> I don't know what your experience or knowledge of the guitar is, or why >>> you seem to feel the necessity of putting down one instrument in order >>> to bring up another. Can't we all just get along? >>> >>> The original question involved the relative size of the repertoires - >>> not some emaginary scenario where the one would be much larger. >>> >>> A friend sent me an e mail after reading some of the posts on this >>> subject, to inform me that in his library of 19th C. guitar music there >>> were over 100,000 pieces. He figures he has about half. That's just one >>> century out of several that contain guitar music. >>> >>> Douglas Alton Smith states that there are about 20,000 renaissance lute >>> pieces and about the same number in the baroque. (History of the Lute, >>> Pg 301) >>> >>> This doesn.t sound like anywhere near the "much larger rep." that I keep >>> hearing about. >>> >>> Joseph Mayes >>> >>> ________________________________ >>> >>> From: Stuart LeBlanc [mailto:[EMAIL PROTECTED] >>> Sent: Sat 4/2/2005 12:15 PM >>> To: lute net >>> Subject: RE: mesmerization >>> >>> >>> >>> >>> Well, consider this: apropos the recent discussion of the relative sizes of >>> the >>> lute and guitar repertoires, what if you include ensemble music? Given that >>> you >>> could include a lute in most anything involving instruments prior to 1750, >>> the >>> guitar repertoire is comparitively tiny. >>> >>> This points to the often observed fact that guitarists are unique among >>> "classical musicians" in that the repertoire is almost entirely solo, where >>> it >>> is not solo it is almost entirely some multiple of guitars, and if this >>> isn't >>> bad enough most performances are presented by guitar organizations for >>> audiences >>> of guitar players. I forget who wrote it or where (might have been >>> Soundboard), >>> but I recall this situation being referred to as "the incestuous world of >>> the >>> guitar." >>> >>> There certainly has been a lot of recent effort from a few conscientious >>> players >>> to get good composers to write for guitar and other instruments, but there >>> is >>> a >>> pretty big gap to fill before guitarists have a ensemble repertoire >>> comparable >>> to that of the piano trio, and which is easier to perform than e.g. Le >>> marteau >>> sans maitre. >>> >>> -----Original Message----- >>> From: Mayes, Joseph [mailto:[EMAIL PROTECTED] >>> Sent: Saturday, April 02, 2005 10:16 AM >>> To: Stuart LeBlanc; lute net >>> Subject: RE: mesmerization >>> >>> >>> Gosh! Stuart >>> >>> That's hard to argue with - unless one were to point out that the same >>> would hold true for any other (splinter)group of musicians - say lute >>> players >>> >>> Joseph Mayes >>> >>> ________________________________ >>> >>> From: Stuart LeBlanc [mailto:[EMAIL PROTECTED] >>> Sent: Sat 4/2/2005 5:39 AM >>> To: lute net >>> Subject: RE: mesmerization >>> >>> >>> >>> >>> To the extent that guitarists only compare themselves to other >>> guitarists, they will have no bona fides as musicians. >>> >>> -----Original Message----- >>> From: Michael Thames [mailto:[EMAIL PROTECTED] >>> Sent: Friday, April 01, 2005 8:53 PM >>> To: lute net; Stuart LeBlanc >>> Subject: Re: mesmerization >>> >>> >>> I had dinner this evening with a couple of guitarist's from Houston. >>> They recently saw a concert in Houston of the Brazilian guitar quartet. >>> I asked >>> them how it was. >>> They were quite pived that they showed up on stage with music. >>> She said it was really no fun sitting there all night watching four >>> guys >>> with their nose's buried in their music, and never looked up once at the >>> audience, the whole time. Ouch! >>> Michael Thames >>> www.ThamesClassicalGuitars.com >>> ----- Original Message ----- >>> From: "Stuart LeBlanc" <[EMAIL PROTECTED]> >>> To: "lute net" <[email protected]> >>> Sent: Friday, April 01, 2005 1:28 PM >>> Subject: RE: mesmerization >>> >>> >>>> >>>> In fact Beethoven called his pieces "sonatas for piano and violin" and >>> they >>> are >>>> considered to be solo vehicles for both instruments. So according to >>> the >>> logic >>>> of some people, both the pianist and violinist should play from memory >>> if they >>>> wish to achieve artistic credibility. >>>> >>>> A program by Kronos Quartet which I attended a while back began with a >>> piece >>>> performed from memory. It began with the room completely dark, and as >>> a slow >>>> melody emerged from the cello, a spotlight gradually revealed the >>> player with >>>> her shock of fair hair against an all-black set. The other players in >>> turn >>> made >>>> their entrances both theatrically and musically, beginning their parts >>> backstage >>>> and continuing to play while walking to their respective seats on the >>> stage. >>> It >>>> was all effectively done, and some of the audience thought they had >>> witnessed >>>> something very profound, probably the same ones who rave about organ >>> recitals >>>> with lightshow. I suppose they are also the same ones who equate >>> memorized >>>> music with "the soul of the artist" or some such. >>>> >>>> Another interesting program I heard was a duo recital by Eliot Fisk >>> and Manuel >>>> Barrueco. They some things from the score, some from memory. >>> Opinions tended >>>> to fall strongly into one of two mutually exclusive groups, which were >>> either >>>> 1)Eliot Fisk is a vibrant performer who knows how to engage an >>> audience, or >>>> 2)Manuel Barrueco is a consummate artist who knows how to make music >>> on the >>>> guitar. >>>> >>>> -----Original Message----- >>>> From: Howard Posner [mailto:[EMAIL PROTECTED] >>>> Sent: Friday, April 01, 2005 10:16 AM >>>> To: lute net >>>> Subject: Re: mesmerization >>>> >>>> >>>> Michael Thames wrote: >>>> >>>>> try repeating the words, solo,,,, solo,,, solo,,, this >>>>> may help. >>>> >>>> It doesn't, though the absence of plurals with apostrophes is >>> heartening. >>>> Is a violinist playing a Beethoven sonata playing "solo"? If he is, >>> does he >>>> lack "professional stage presence" if he has the music in front of >>> him? >>>> What about the pianist playing with him? Does he lack "professional >>> stage >>>> presence" if he plays with music in front of him, as he almost >>> certainly >>>> will? What if it's a trio? I've never seen a string quartet play >>> without >>>> music in front of them. A "soloist" will often play a concerto with >>> music >>>> in front of him, particularly with period-instrument ensembles. >>>> >>>> So no, repetition of a mantra is no more helpful here than mindless >>>> repetition usually is. I don't know if you've ever thought about >>> where, in >>>> the continuum from one musician alone on a stage to 100 musicians on a >>>> stage, the musician playing from music no longer lacks "professional >>> stage >>>> presence" if he has the music in front of him. But your personal >>> answer to >>>> that question is probably of use only to you. It wouldn't interest >>> me, >>>> because I don't share your view that it's unprofessional for musician >>> to >>>> read music in concert. >>>> >>>> BTW, I would hope to avoid a concert where someone was sightreading. >>> That >>>> would be unprofessional. And I can't imagine a musician "site >>> reading." I >>>> suppose web browsers and surveyors do that. >>>> >>>> HP >>> >>> >>> >>> To get on or off this list see list information at >>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >>> >>> >>> -- >>> >>> >> >> > >
