Dear Dan
I recently heard Stravinsk's Pulcinella and Pergolesi's Stabat
Mater directed by Mark Minkowski with the Musiciens du Louvre-Grenoble,
and for both pieces of music the bowed instruments were strung in gut,
the argument being that still around the 1920s these could have been
strung in gut. The brass or the Stravinsky were period instruments
(around 1915) and the sound texture was audibly different from modern
instruments. The sound was slightly more earthy, but warmer, and the
balance between strings and brass was excellent. There was a luminous
clarity to the articulation of the piece.
I would think some people are more interested in this sound texture and
articulation question, and they are willing to sacrifice slight
problems of "intonation" in their effort to achieve the sound quality
they want; while others are so obsessed by in tuneness that they find
gut difficult, and they are willing to compromise texture .
I notice, however, that the majority of gamba players adopt gut, and
most probably feel that only gut can give the interesting shades and
sound textures that make up the music of a Tobias Hume, for example.
Of course, Gamba strings are much thicker, and there are less of them,
so the practicality issue is also less. I would think that practicality
is the major factor that stops many lutenists from choosing gut, and
that this is a much more important element in their choice, than any
claim to the better sound of synthetics. Indeed a good compromise, as
you have suggested, is the use of some synthetics in the crucial
positions, where a breakage might ruin a concert, and even a choice of
mainly synthetics, in some 'on tour' situations, or when playing on a
boat, as I seem to remember David once did, is surely a sensible
solution; but the reference, as you have also suggested (at least for
early music), must surely remain gut.
Regards
Anthony
---- Message d'origine ----
>De : "Daniel Winheld" <[email protected]>
>A : [email protected]
>Objet : [LUTE] Re: Switching between gut strings and synthetics?
>Date : 29/01/2010 09:54:10 CET
>
>There was a fellow, name of Andres Segovia I believe, followed
> himself all over the world breaking gut treble strings regularly on a
> guitar. Finally wound up in the caring hands of Rose and Albert
> Augustine and a pile of raw nylon from Dupont. Didn't change his
> repertoire or instrument, and he liked the tone quality of an
> unbroken string in front of a live audience. On the other hand,
> Willie Nelson produced an extraordinary "gutsy" sounding album some
> years ago; gut strung classical guitar played with a pick. Great
> sound indeed- kind of like a synthesis of an oud and a Flamenco
> guitar.
>
> And just today at the record (well, CD) store I sold a remastered
> pre-electric recording from the turn of the previous century of the
> very late, very great American violinist Maude Powell, playing on a
> gut "e" string. Also minimal, controlled vibrato, flawless technique,
> deeply felt playing. And no such thing as edits.
>
> Dan- too beside himself to follow either of you or himself.
>
> > > Of course you can say for sure Francesco, Dowland and Weiss would
have
> used
> > > gut living today ???
> >> They would have jump on synth string saying I dreamed my all life
about
> this
> >> !!!!
> >> LOL
> > > Val (follows himself too ;-)
> >
> > >> There's no reason to use the synthetics just because Ronn
> > >> McFarlane, Paul O'Dette, and Nigel North use them
> >
> > > Indeed, and Francesco, Dowland and Weiss used gut.
> >> Who would you like to follow?
> >>
> > > David - follows himself
>
> --
>
>
>
>
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References
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