Thanks Ron!
:)
This is a great motivation to actually try some composition.
I improvise sometimes and have done so on any instruments I played,
because it is fun, and you learn something new every time.
This is something one forgets too: Musicians of the 16th century are
trained to come up with 2 hours of music from their sleeves.
So as long as lute meetings don't involve a massive jam session over
passamezzi, chansons etc., it's probably not a historically informed
meeting :)
"Playing new music" would therefore also mean to drag your lute to a
jazz session or some other free music session with room for impro.
Am 15.03.2018 um 18:38 schrieb Ron Andrico:
Tristan, you provided some very insightful answers to Gilbert's
thought-provoking questions. I've written a slightly different flavor
of both questions and answers about new music for the lute on Unquiet
Thoughts, but it's refreshing to see the topic revived.
I'd like to draw particular attention to your pointing out that
narcissism motivates the many reactions that deride new music by those
who appear to enjoy "shooting from the lip" on just about any
lute-related topic. Spot on. Without passing judgement, it seems that
there are lute hobbyists, and there are musicians who play the lute.
The former are occupy themselves with the many interesting historical
aspects of the instrument, and the latter use that information to make
music.
For those who like to think their approach to the lute is the purest,
most historically informed, I'll point out a few of the more obvious
anachronisms: Playing in comfortably heated or cooled rooms, playing
with electric lights, having a nice Kingham case, traveling by plane,
train or motorcar, having enormous libraries of tablatures, discussing
lutes on the internet, and last but not least, playing other people's
compositions.
In the 16th century, lutes, strings, and printed music were all
extremely costly and only wealthy amateurs could afford them.
Musicians who held positions that allowed them the luxury of the time
it takes to become proficient on the instrument were uniformly trained
as singers and then were apprenticed to a master who taught them the
rules of composition. Lutes and strings were provided by their
employer. Musicians who did not compose most likely did not hold
positions as professionals. And they most likely did not play music
composed by others unless they were obliged to take part in a larger
ensemble performing masque music, etc.
The very idea of not composing for the lute is an anachronism.
RA
__________________________________________________________________
From: [email protected] <[email protected]> on behalf
of Tristan von Neumann <[email protected]>
Sent: Thursday, March 15, 2018 5:43 AM
To: lutelist Net
Subject: [LUTE] Re: Some questions
Here's my answers to your questions. I don't know if this is actually
true or not, but I feel that way.
Am 14.03.2018 um 22:33 schrieb Gilbert Isbin:
> Why is the lute world ruled by early music ?
It's just that the music is SO good that it's hard to think of anything
else so much fun, intellectually joyful and pleasing just playing for
yourself.
New Music tends to either be spectralist or atonal. The former sounds
fascinating, but I have not yet heard any piece exploring that
direction. The latter just does not suit the naturally sympathetic
nature of the lute.
And then there is retro-new music which is nice, but just shows love
for
Early Music.
> Why are 90 or 95% of the lutenists afraid to play new music for
the
> lute ?
New Music needs a completely new technique. Most lutists are good
amateurs, and the few pros are struggling to make a living doing Early
Music. There is hardly time to practice considering the meager
out/income for playing New Music.
New Music appeals to an even smaller audience than Early Music.
> Why did guitarists, recorder players, cellists, pianists , oud
players
> etc. took the challenge to play today's music and the lute world
almost
> - with a very few exeptions - doesn't ?
There are more of those around, so the number of crazy people doing
that
is higher in absolute numbers. The percentage is still very low. Most
play Classical, Romantic, and Early Music.
> Why are luteplayers afraid to play something different ?
If it's applying 16th century/Baroque techniques, it's probably also
very similar to the "Real McCoy". If it isn't, it's probably very hard
to play.
> Why do lutenists think the lute must be played with a very
specific
> approach ?
This only applies to Early Music, where it makes sense.
> Why are lots of lutenists looking down at lutenists who are
trying to
> do something else with the instrument, with other techniques, new
> approaches?
Narcissism. Instead of feeling joy, there's joy in the ridicule of
something. Since you can't ridicule someone for playing 16th century
music without targeting your own playing, it is just convenient if
someone leaves the usual paths.
Real musicians are interested in these paths., even if they don't want
to try them on their own.
> What is the future for the lute music if it stays to be that
dogmatic ?
It's not that Renaissance or Baroque music would suddenly change...
> I guess Dowland and all the other wonderful lutes composers would
have
> a good laugh with the today's lute world approach to the
instrument.
John Dowland would probably still be touring through Europe - in big
clubs.
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