Jurek,
There is considerable difference of how music is heard by its participants
vs. how it is heard by listeners.
My perspicacity tells that all this ensemble music was clearly intended to
be heard just by the participants, with or without very few guests. Moving
this music into our typical venues renders the lute inaudible.
One of course could bring in causa Lutz Kirchhoff's efforts, but his
[athletic] approach to the lute in ensemble circumstances is not a pretty
listen.
RT
----- Original Message -----
From: "Jerzy Zak" <[EMAIL PROTECTED]>
To: "Lutelist Net" <[email protected]>
Sent: Friday, October 24, 2008 7:47 AM
Subject: [LUTE] Re: Weiss, Logy and archlute
Matthias,
On 2008-10-24, at 12:17, [EMAIL PROTECTED] wrote:
> > I do like accompanying a singer though.
> > RT
>
> Here you are, though you don't like it: H Albert, G Voigtländer,
J.H.
> Schein, H. Schütz, Ch Bernhard, A. Krieger, J. Rist, T Selle, A
> Hammerschmidt, J Nauwach, C Ch Dedekind, J Kremberg, Ph.H.
Erlebach,
> G.Ph. Telemann, J.V. Görner, J.A. Hasse, J.S. Scholze
> (Sperontes),..... not to mention all the less known further east,
> survived or not.
Some of the best baroque lied composers, indeed, but I cannot see their
connection to the lute (except for Jakob Kremberg, of course, whom I
shouldn't see among the first of that order, though).
Mathias
The connection is the simplest posiible - these are continuo songs,
most probably for home use, small audience, private entertainment,
like solo lute music of the period, from Reusner to Hagen. Do all the
people then had two instruments at home, and the other one for
continuo was obligatory an archlute or big theorbo??? Nonsense!
Jurek
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