I heard this performer give a lecture demonstration earlier in the day,
which is why I know how it was strung. His comments on that were that
one had to make compromises and select music for a concert that worked
with the stringing chosen. I'm well aware that he did pluck only one or
the other of the octave strings in various other places in the concert.
The Roncalli was by no means the show piece of the concert, and
perhaps for the other things the octave stringing was good. This
performer seems to like vigorous strumming, to the point of chipping his
artificially enhanced (it appeared) nails. I imagine that for strumming
the octave stringing works nicely.
Suzanne
On 11/1/2010 3:52 AM, Monica Hall wrote:
Well - this isn't really the place to start yet another discussion about
the
stringing of the baroque guitar but if he was using octave stringing on the
fifth course for Roncalli I think he was mistaken. I think I can guess who
it was as he has recorded a lot of Roncalli's music. It also explains what
you said about inappropriately loud or soft notes in the counterpoint. The
idea is that you leave out one or other string of a course when using
octave
stringing and it just doesn't work in practice. It simply makes the music
sound unbalenced.
The best recording of Roncalli's music is one made by Jorge Oraison some
time ago but I think it is no longer available.
Monica
----- Original Message ----- From: "Suzanne Angevine"
<[email protected]>
To: "Monica Hall" <[email protected]>
Cc: "Lutelist" <[email protected]>
Sent: Sunday, October 31, 2010 9:46 PM
Subject: [LUTE] Re: OT: Baroque Guitar technique
I believe that he was playing on gut strings. I believe the tuning was
octaves on the lowest 2 courses. I think the piece I had the thought on
was a sonata by Roncalli. But maybe I just expect too much perfection
in a
live concert. hard to compare with recordings and you tubes.
Suzanne
On 10/31/2010 10:33 AM, Monica Hall wrote:
Well - without knowing who was playing or what they were playing it is
difficult to comment. There certainly shouldn't be any squeaks or twangs
if they using suitable strings - i.e. plain gut. The method of stringing
used is also important. It is certainly harder to play contrapuntal
pieces
on the baroque guitar because of the limited compass and if octave
stringing is being used. It is also difficult to balence strummed chords
with the 2- and 3-part counterpoint.
That said there are lots of attractive recordings of solo music - I am
just
writing a review of Gordon Ferries CD of music by Bartolotti - on the
Delphian label - DCD 34066 and I would also recommend Francesco
Corbetta/Robert de Visée, Une larme. Rosario Conte (baroque guitar).
Carpe Diem, CD 16278.
Cheers
Monica
----- Original Message ----- From: "Suzanne Angevine"
<[email protected]>
To: "Lute List" <[email protected]>
Sent: Sunday, October 31, 2010 4:20 PM
Subject: [LUTE] OT: Baroque Guitar technique
Last night I heard a very nice concert of mostly Baroque guitar.
This is
not an instrument I have any experience on, so I have a question. While
the music was played with great style and expressiveness, I noticed
some
things that in a lute player I would not think that good. Things like
squeeks, and twangs, and notes that in the contrapuntal texture were
inappropriately loud or soft. Now I know on lute that it takes a fine
degree of excellence, such as Paul O'Dette, to play without these
things,
and to bring out the essence of the music clearly. I also know from my
own limited amateur abilities that it is much easier to hear what you
*want* to hear, how you think the music should go, than it is to hear
how
you're actually playing. So my question is this: Is it technically
harder
for some reason to play contrapuntal style pieces on Baroque guitar
than
Ren lute? It seems the real strength of the Baroque guitar in modern
usage is loud strumming as part of a continuo group, and at this it is
clearly excellent. But I've not heard so many people play serious solo
pieces on the instrument.
Suzanne
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