>> anachronistic choices for much >> of our repertoire. Food for thought. Perhaps the >> time has come for us to >> specialise into even narrower niches. >> >> David > > ..Or perhaps we worry about instrumentation far too > much. By and large, these seem to be minor concerns > that only trouble us, the lute players.
And so they should, if nobody else knows the difference between an archlute and a theorbo. Of course my 'narrower niches' has a touch of irony, a lute player's niche is about as narrow as it gets in the mainstream musicians' world. But still, the concern for a choice of instrument that is appropriate for its context is legitimate, it's probably what drove most of us to the lute. After all, we prefer Dowland on lute and Lobos on guitar. Then, take the concequences of that choice and play Dowland on a lute, and Castaldi on a theorbo. And if the conductor doesn't know what's appropriate, you should enlighten him. Perhaps he's interested and hear you out on what you have to say about lutes in continuo groups. He might even opt for two lute players next time, as for some music it's obvious that one player is not enough. On a related topic: in October I have to accompany a singer in a contest in England (anybody else playing in the John Kerr Award at Finchcocks Museum in Goudhurst? http://www.finchcocks.co.uk/pages/concerts/1oct.htm). The conditions are that the singers must each perform "a twenty-five minutes contrasting programme from the English song repertoire ranging from John Dowland to late Victorian music." Appropriate instruments are required. How many, I wonder? My singer choose some 17th century continuo songs and one of the required works: a lute song by Campion. What should I bring? A theorbo, possibly an English one, or a 12-course theorbo'd lute plus an 8-course for the Campion? Too much hassle, so I'll probably settle for a 10-course to play all. Appropriate enough for me, but will it be for the jury (Anthony Rooley)? My choice is in line with Benjamin's point that a period player would choose one instrument, or at least one tuning, for all his lute jobs. But for people like us, playing such a variety of music, it still means playing many different lutes in different tunings. David **************************** David van Ooijen [EMAIL PROTECTED] www.davidvanooijen.nl **************************** To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
