Is the lute in competition with the guitar? When did this "war" begin?
Is the cello at war with the bass viol, the trombone with the sackbut,
the trumpet with the cornetto, the bassoon with the rackett(sic), etc?
Such an absurd cacophony.
Bream's structural changes to the historical lute were no more drastic
than the changes lute makers made to the renaissance lute to turn it
into the archlute, theorbo, or baroque lute. If you don't agree with the
changes, you are free to follow your own lights. Many people continue to
play the six course renaissance lute and leave the archlutes and baroque
lutes alone. Also, by the way, Bream himself acknowledges that his early
lutes are not "historical", although his later lutes are more so.
Beyond his amazing technical abilities, Bream is a master of the various
sonorities of the guitar and his lute. Like Segovia he could make the
guitar or his lute sound like an orchestra. He is an amazing artist.
Gary
On 2013-12-06 11:35, [email protected] wrote:
This is a lute-talk, correct?
I did not know Britten and Villa-Lobos composed for the lute, they are
certainly not known for it.
I know Bream played the lute, but his complete works collection is not
too meaningfull for the lute today besides the historical (meaning the
1900-2000 period) rediscovery he helped forward.
Generally speaking, we want to get more guitarists into the lute, not
the other way around, isn't it?
Ernesto Ett
11-99 242120 4
11-28376692
Em 06.12.2013, às 16:19, howard posner <[email protected]>
escreveu:
On Dec 6, 2013, at 8:20 AM, [email protected] wrote:
his recordings do not fit into what I like to hear,
say Hopkinson Smith and alumni.
If you can direct me to "Hopkinson Smith and Alumni play Britten and
Villa-Lobos," I'd love to hear it.
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