Dear David,
Your reasoning is historically "correct," but this
puts us in something of a quandry from a practical
performance view. Just take Dowland, for example.
His "Lachrimae" lute solo exists in a version for
six-course lute, (its 7-course in Board and Folger)
"Flow my teares" is for 7-courses, the lute used in
"Seven Sad Pavans" is 9-courses and the "Galliard to
Lachrimae" is also for 9. Now, if you want to pair
the Lachrimae Pavan with its Galliard on the same
concert program, what should you do?
You're quite right that none of the above
mentioned pieces requires the 8-course lute, but,
according to your line of reasoning, would it be any
more acceptable to play the 6-or-7-course Pavan on a
9-course instrument? (What about playing a 9-course
piece on a 10-course? Out, too?) Certainly, the
tonal distinction between the 6 and 9 coursers would
be much greater than between the 7 and 8 courses that
you suggest is significant. Or would you suggest our
performer should play the pavan on a six-course lute,
put it down, fine-tune the 9-course and go? Would
Dowland?
Clearly, the answer is that Dowland adapted the
music to the instrument at hand. There's no shame in
us doing the same.
Chris
--- David Tayler <[EMAIL PROTECTED]> wrote:
> It's important to play 6 & 7 course for the
> renaissance repertory.
> I understand the issues of resale value, etc, but I
> really think for
> most of the 16th century
> the three instruments, 6 course, 7 course _F and 7
> course D give the
> most insights into the music.
>
> Also, if you are going to sell the lute it is best
> not to buy it :)
>
> As important as course, ideally one should have an
> instrument set up
> for intabs and one for ricercars, and the optimum
> setup really requires
> the right number of courses.
> It's possible that without the best setup, it might
> be harder to
> learn certain techniques, and that an eight course
> could become
> a bit of a tugboat.
>
> There's a big difference in the sound when the
> eighth course goes on,
> which is immediately attractive, but for me,
> ultimately,
> later sounding, rich rather than clear.
>
> Many instruments share these issues of practicality
> and range. When
> buying an Italian harpsichorp, people have to decide
> whether to buy
> an instrument with a very wide range,
> so they can play "everything", or an historical
> instrument. But there
> is a fundamental difference in the sound; sound vs
> practicality: no
> easy answers.
>
> dt
>
>
>
> 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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