The discussion was about archlutes (and lutes) not theorbos. No one
doubts that some theorbos had single strings (and not just French
instruments either).
MH
__________________________________________________________________
From: Jean-Marie Poirier <jmpoiri...@wanadoo.fr>
To: Roland Hayes <rha...@legalaidbuffalo.org>; Martin Shepherd
<mar...@luteshop.co.uk>; 'Lute List' <lute@cs.dartmouth.edu>
Sent: Wednesday, 17 June 2015, 21:11
Subject: [LUTE] Re: Tiorba
Hahahaha ! Good shot Roland ;-) !
Jean-Marie, a Brossard's and Campion's (+ a few others') countryman :-)
--------------
>Re: the theorbo, were Brossard and Campion (7 or 8 on the petit jeu,
single strung) "outliers" as well? Maybe just by being French. r
>
>-----Original Message-----
>From: [1]lute-...@cs.dartmouth.edu
[mailto:[2]lute-...@cs.dartmouth.edu] On Behalf Of Martin Shepherd
>Sent: Tuesday, June 16, 2015 5:25 PM
>To: [3]lute@cs.dartmouth.edu
>Subject: [LUTE] Re: Tiorba
>
>Not sure what this comment means.
>
>Perhaps it refers to Castaldi having apparently used single strings on
his theorbo, as did some 17th century (and most modern) players. Hardly
a justification for using all single strings on any other kind of lute
- and even with the theorbo the evidence of the surviving instruments
is overwhelmingly in favour of 6 (and only 6) double courses on the
fingerboard and single basses.
>
>As for the use of wound strings, there is no reason to suppose they
were ever used on lutes with extended basses, and certainly not on any
kind of lute before about 1650, if ever (they are not mentioned by Mace
or Burwell, for instance, both of which date well after the invention
of some kind of wound string).
>
>I have no objection to people playing whatever instruments they like
(Bach on the 5 string banjo, for instance), but they are attempting to
deceive their audience if they claim some kind of historical
justification for practices which go so clearly against the historical
evidence.
>
>M
>
>On 16/06/2015 22:54, Roland Hayes wrote:
>> ..and Castaldi's illustration is phoney? r
>>
>> -----Original Message-----
>> From: [4]lute-...@cs.dartmouth.edu
[mailto:[5]lute-...@cs.dartmouth.edu] On
>> Behalf Of Ron Andrico
>> Sent: Tuesday, June 16, 2015 3:29 PM
>> To: [6]mar...@luteshop.co.uk; [7]lute@cs.dartmouth.edu
>> Subject: [LUTE] Re: Tiorba
>>
>> Thank you for this, Martin.&nb= sp; The un-historical continuo
>> instrument has become the norm with the ma= ny faux baroque
orchestras
>> we see here in the US, as is true with many ot= her aspects of
their
>> music and performance style. ; It's tiresome to = the ears of the
>> cognoscenti and rather undermines the efforts of those of u= s
who
>> attempt to emulate historical examples.
>> RA
>> >; = Date: Tue, 16 Jun 2015 20:47:20 +0200
>> >; To: [8]lute@cs.dartmouth.edu >; From:
[9]mar...@luteshop.co.uk
>> >; Subject: [LUTE] Re: Tiorba ;
>> >; What bothers me is that we now see the totally
>> &= gt; single-strung (with wound basses, of course) liuto
>> attiorbato as th= e
>> >; standard modern continuo instrument in everything from
Dowland= to
>> >; Vivaldi. As far as I'm concerned, it's a modern "folk" in
strument.
>> >; Nothing wrong with it except the claim that it is som= ehow
>> "historical".
>> >;
>> >; M
>>
>> = --
>>
>>
>> To get on or off this list see list information at
>> [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>>
>
>
>---
>This email has been checked for viruses by Avast antivirus software.
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>
>
>
>
--
References
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2. mailto:lute-...@cs.dartmouth.edu
3. mailto:lute@cs.dartmouth.edu
4. mailto:lute-...@cs.dartmouth.edu
5. mailto:lute-...@cs.dartmouth.edu
6. mailto:mar...@luteshop.co.uk
7. mailto:lute@cs.dartmouth.edu
8. mailto:lute@cs.dartmouth.edu
9. mailto:mar...@luteshop.co.uk
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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