Thanks for this Luke. I heard José Luis Pastor perform in 2011 in Gijon, and he was absolutely amazing.
Ed Sent from my iPhone > On Apr 25, 2019, at 12:10 PM, Luke Emmet <luke.em...@orlando-lutes.com> wrote: > > Perhaps slightly earlier than you had in mind, but not so long ago at the UK > Lute Society we had a presentation and recital by Jose Luis Pastor on the use > of the plectrum in Medieval Lute playing. > > His accompanying CD called "The Evidence" provides a very compelling > performance and demonstrates the capabilities of what can be achieved with > lute plectrum technique. > > https://www.amazon.com/Evidence-Medieval-Jose-Luis-Pastor/dp/B00ZFGV6IO > > If you want to hear what an accomplished lute plectrum technique can sound > like, I recommend this. Contains a fair amount of strumming across partially > damped strings - similar to the lyre technique seen below. And very musical > performance to boot. > > Best Wishes > > - Luke > >> On 25-Apr-2019 06:13, Tristan von Neumann wrote: >> This video by Prof. Stefan Hagel, specialized in Ancient Greek Music, is >> very interesting as it leads to a question that is lingering for a while >> now that has been addressed here as I recall - and it pops up whenever I >> see chords that require more than 4 fingers in the right hand. >> >> First enjoy some Kithara playing: >> https://www.youtube.com/watch?v=4UWBo0rsuHU >> >> >> As you can see, it is suggested and it seems supported by iconography >> that the strings were played with a plectrum and the muting of unwanted >> strings. >> >> The strumming accentuates the rhythm, which is very important in greek >> music, as it is derived from the Greek poetry and the very melodious and >> rhythmically pronounced language itself. >> >> Considering that the Lute in the 16th century is seen as a conscious >> revival of the ancient Kithara or similar stringed instruments, the >> function of chords especially in dance music and in vocal intabulations >> would be also to support rhythm. >> >> Yet, we do not often hear strummed lutes, though it is clearly a >> technique at least in Germany, judging from the explicitely strummed >> pieces in Newsidler's Books or the Munich Manuscript, and early stuff >> like Dalza is often written to strum. These chords are written to >> contain on all courses notes of an allowed chord, or allow partial use >> of the courses in one strum, no rules broken here if you happily indulge >> in those. >> >> But when it comes to clusters for example at the end of the fantasies in >> the Thistlethwaite lute book or in Albert de Rippe, some of the chords >> are very awkward to finger in the right hand (also in the left, but >> that's probably because I am not a pro...). >> >> The most puzzling settings are in the Donaueschingen Lute Book - 5 or 6 >> voice madrigals are set correspondingly in the lute - leading to chord >> clusters that cannot possibly played without strumming if you want to >> preserve the rhythmic character of the original. Wondrously, almost all >> chords create a pleasing harmony or create the effect of a >> Durchgangsdissonanz, even if the courses are all strummed. But if other >> fingerings would have been used, the effect would not be as good or >> would emphasize a note not favorable in the strummed chord. >> >> The question arises: Is there any mentioning of this problem for example >> in Fronimo or other treatises about how to intabulate so you are able to >> strum, even though only the notes that are "in line with the rules" are >> notated in the tablature (or as it often seems, only the frame notes of >> the strum), or implying such a technique. >> >> >> Considering the madrigals in Donaueschingen could possible be used to >> accompany a singer, this practice would fall in line with the early >> developments of Basso Continuo, and would make a great effect. We know >> Luzzaschi and Gesualdo did it, but no tabs survived or were ever >> created. Only recently, madrigal groups have added lutes to the full >> vocals, my favorite is this album: >> https://www.youtube.com/watch?v=7rX53ymutgc >> >> It was discussed in one episode of me:mo, and I found it intriguing, >> some seem to find it aweful. >> >> I think the use of lute, ceterone and guitar is absolutely enriching the >> madrigals, and some strumming is heard from the ceterone and the guitar, >> obviously. >> >> >> >> A while ago I have recorded this idea with "Venuta era madonna" by >> Marenzio, and while sight-reading I decided to try to employ the Kithara >> effect (sorry, not a pro). >> >> This is by the way imho one of the most beautiful lute pieces ever with >> lush harmonies bordering on impressionist Debussy-like stuff (especially >> with the ring of the additional courses), highly recommended like the >> whole manuscript. >> >> >> Anyway, here it is, with links to the madrigal and the intabulation in >> French tabs are included in the description: >> https://tristanvonneumann.bandcamp.com/track/luca-marenzio-venuta-era-madonna-donaueschingen-lute-book >> >> >> >> I would love to play this with a singer, but some of you (hi Ron! :)) >> may be able to do it much better. I would love to hear the Madrigals of >> the Donaueschingen Lute Book done as lute songs. >> >> Would you consider this a viable concept or is there no basis for more >> strumming? >> >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > ______________________________________ > > Orlando Lutes > http://www.orlando-lutes.com > >
