Thanks for your answer Daniel Indeed when I toured in California with bassplayer Scott Walton (USA) in some conservatories - in one of them we did a workshop on improvisation-, galleries, and other places I got the feeling that there was more openess. We even played in a jazzclub. But before anyone get the impression that I see myself as a misunderstood, mistreated composer or lutenist I should point out that a lot of my works have been published by the UK Lute Society and that my book The Improvising Lutenist will be published next year by Mel Bay and quite some of my compositions have been performed by wonderful players.
âI will just continue to compose and perform. I love the instrument too much. â 2018-03-18 18:38 GMT+01:00 Daniel Shoskes <[1][email protected]>: Well, people will sometimes hear a dog whistle that's only audible to them. Allow me to touch on a couple of your original points that I don't think have been discussed. You asked why lutenists who try to do something else with the instrument are looked down on. Presumably by something else you meant play new works or transcripted modern pieces? Have you found this to be the case? Maybe when I was new to the lute world 15 years ago I heard some grumblings about Ronn McFarlane only playing his own music but it certainly hasn't been an ongoing theme. Needless to say Ronn's superb musicianship and talent with early music, his own compositions and with his group Ayreheart have proven artistically and commercially successful. Chris Wilke plays jazz on his instruments and that doesn't make him any less respected as a continuo player. Is this more of an issue outside the US? You brought up recorder players as a group more open to new music. I think it is interesting to look at the recorder and viol societies, again at least in the US. These are very driven by a committed group of amateurs and enthusiasts, I think to an even greater degree than in the lute world currently. Where new compositions can fill a niche in those communities is often with easier pieces for students. Indeed you have composed sets of easy pieces for Ren lute and Roman has composed many works for baroque lute that are technically less demanding than Mouton or Weiss, are fantastic resources, and do open the ear of beginning players to music beyond the original composers. In any case, I applaud your commitment to the instrument, to encouraging the art of improvisation and to extending the sonic possibilities. FWIW, each of my 3 CD's has an original composition on it, one of which was a commission. Danny > On Mar 18, 2018, at 11:45 AM, Gilbert Isbin <[2][email protected]> wrote: > > Very strange that the original subject of Some Questions is evolving > into a totally different subject. > > With kind regards, > > Met vriendelijke groeten, > > Bien cordialement, > Gilbert Isbin > [1][3]www.gilbertisbin.com > [2][4][email protected] > 2018-03-18 16:41 GMT+01:00 Dan Winheld <[3][5][email protected]>: > > To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[email protected] 2. mailto:[email protected] 3. http://www.gilbertisbin.com/ 4. mailto:[email protected] 5. mailto:[email protected] 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
