Hei Juan! Michel Cardin mentions several pieces in the London manuscript where courses 9, 10 and 11(!) are fretted. Tim Crawford has pointed that the sonata in f-minor S-C 21 might have been modified to suit the swan neck lute, since the London version contains deep E naturals in the allemande and sarabande which have been transposed up one octave in the Dresden version.
mvh Are Vidar Boye Hansen, from Norway > Dear lute friends: > Excuse me in case I'm boring you with too much newcomer questions, probably > "over-answered" in the past. Well, let's go to the matter. It's said all > around that the ideal lute to play S.L. Weiss is the know as "swan neck" or > "theorboed" model and, really, the most of the recordings published till now > are related to lutenists performing on a "swan neck" baroque lute. I'm now > studying the Prelude from the Suite in d minor (Dresden Manuscript, Volume > 1, Suite n. 7, in the Jean-Daniel Forget public domain edition), one of the > best Weiss preludes, for my taste, -extraordinarily well performed by Robert > Barto (Sonatas vol. 3 track 14)- and I'm realising that Mr. Barto raises one > octave up some basses that demand to be played e.g. on the first fret of the > 10th course (Eb). I'm sure the reason is he's playing on a "swan neck" > preventing him to play these notes as originally were written. My personal > question now is whether this point is showing that Weiss composed this piece > -and many others, probably- with a simple "bass rider" baroque lute in mind, > and not a theorboed one. What do you think about? > Always giving thanks for your tolerance and kindness. > > -- > Juan Fco. > > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
