Anyone can hear that this organ is not in tune. Whatever the temperament the octaves should be pure. I agree with Roman that this sounds horrible but this has nothing to do with the temperament.
Cheers, Lex > Op 21 jul. 2019, om 17:59 heeft r.turov...@gmail.com het volgende geschreven: > > This is a piece by Tarquinio Merula in MT, > > Anything but beautiful- > > [1]https://youtu.be/dyzYjyp8zCw > ==== > [2]http://turovsky.org > Feci quod potui. Faciant meliora potentes. > On Jul 21, 2019, at 11:34 AM, David van Ooijen > <[3]davidvanooi...@gmail.com> wrote: > > The beauty of MT is that each key has it's own character. I've played > l'Orfeo 30 times. 30 Times in MT. I've lost count of the times I've > played Monteverdi's Maria Vespers (over one hundred times, anyway) > all > in MT. > David > On Sun, 21 Jul 2019 at 17:21, <[1][4]r.turov...@gmail.com> wrote: > So - I took a quick look: l'Orfeo starts in C and goes through a, > d, > F, g, G, Bb, c and even f. > A separate theorbo for each key change, I suppose!)) > RT > ==== > [2][5]http://turovsky.org > Feci quod potui. Faciant meliora potentes. > > On Jul 21, 2019, at 8:49 AM, [3][6]r.turov...@gmail.com wrote: > > Out of curiosity: > > There should be estimates around of how many keys say a Monteverdi > > opera goes through. > > I am pretty sure Claudio didn't worry about the fretted guys > > temperaments, did he? > > unless they had a different axe per movement. > > RT > > ==== > > [4][7]http://turovsky.org > > Feci quod potui. Faciant meliora potentes. > > On Jul 21, 2019, at 6:16 AM, tribioli > > <[5][8]tribi...@arcetri.astro.it> wrote: > > I know only one thing: for me 1/6 comma practically works. No > > slanted > > frets nor tastini. I don't bear anymore to play early > > Renaissance music > > in equal temperament which on the other hand I use on all the > > later > > music as it allows to play in other keys than the "standard" > > Renaissance keys. > > I think there were not so many rules in the past. Galilei > > advocates > > against tastini, so there were people using them and meantone > > temperament. How many we don't know. Piccinini advocates > > playing with > > nails, others say not. Besard says to stretch the thumb out, > > some > > others say to do so if your hand allows it (for instance, I > > have a > > short thumb, one falanx shorter than usual). In any case, > > Besard (if I > > remember correctly) blames those who play shaking their hand, > > so there > > were some musicians that still played thumb under at his time. > > How many > > we don't know. Lately, some, many?, people played with the > > pinky very > > close or behind the bridge, so they probably had lower string > > tensions, > > which is probably good for instruments with many strings, and a > > completely different sound of what now people think is nice. > > Even our > > instruments are biased by our ideal, sweet, sound, which BTW is > > different from what was considered a good sound thirty years > > ago, but > > if one reproduces exactly the thickness and bar dimensions of > > the > > surviving boards, the sound that comes out is much brighter. > > Ok, it > > depends on the board stiffness too, but that's it. > > It is a modern, romantic, idea that everything in music must be > > written, the thecnique must be absolutely that etc. The old > > masters, > > simply did what they liked more and worked better for them, of > > course > > to the degree the instrument allowed. They wrote their own > > music or > > freely adapted what was composed by others, simplifying or > > adding > > diminutions as they thought was fit and their thecnique > > allowed. As in > > the case of the lute there is no continuity because no one have > > played > > it for a couple of centuries, we can only guess and try to stay > > close > > to what they "probably" did. If we like to do so, because at > > the end no > > one wrote a law so the lutenists have to play only old music! > > Freedom > > (in art, at least)! > > Happy plucking > > -------- Messaggio originale -------- > > Da: Matthew Daillie <[6][9]dail...@club-internet.fr> > > Data: 21/07/19 11:23 (GMT+01:00) > > A: "[7][10]lute@cs.dartmouth.edu list" > <[8][11]lute@cs.dartmouth.edu> > > Oggetto: [LUTE] Re: Wishful thinking on lute temparaments was > > Re: Lute > > Temperaments > > OK, I stand corrected, you know best. Have a nice day. > > Matthew > > Le 21 juil. 2019 à 11:15, Martyn Hodgson > > <[9][12]hodgsonmar...@cs.dartmouth.edu> a à �crit : > > Dear Matthew, > > Thank you for his - though I really do not know why you suggest > > a > > 'slanging match'!. My intention is merely to put some > > historical > > and > > practical perspective on the matter rather than simple personal > > assertion. To repeat: you are making the common mistake of > > discussing > > theoretical temperaments (mainly, in practice, only employable > > on > > keyboard instruments) with practical temperaments appropriate > > for > > fretted instruments such as the lute. > > Whether or not some modern players might adopt this manner > > ('meantone') > > of fretting is not, of course, the point - perhaps they might > > themselves engage in a degree of wishful thinking. Certainly, > > modern > > fashions come and go as fast as fads, and in other areas of lute > > performance practice some modern players (even a few > > professionals > > who > > might be expected to know better) still insist on, for example, > > employing thumb-under for repertoire other than the sixteenth > > century. > > In short, such anecdotal reports, even from 'professionals, are > > not > > reliable evidence of historic practice. > > regards > > MH > > To get on or off this list see list information at > > [10][13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > -- > ******************************* > David van Ooijen > [11][14]davidvanooi...@gmail.com > [12][15]www.davidvanooijen.nl > ******************************* > -- > References > 1. [16]mailto:r.turov...@gmail.com > 2. [17]http://turovsky.org/ > 3. [18]mailto:r.turov...@gmail.com > 4. [19]http://turovsky.org/ > 5. [20]mailto:tribi...@arcetri.astro.it > 6. [21]mailto:dail...@club-internet.fr > 7. [22]mailto:lute@cs.dartmouth.edu > 8. [23]mailto:lute@cs.dartmouth.edu > 9. [24]mailto:hodgsonmar...@cs.dartmouth.edu > 10. [25]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > 11. [26]mailto:davidvanooi...@gmail.com > 12. [27]http://www.davidvanooijen.nl/ > > -- > > References > > 1. https://youtu.be/dyzYjyp8zCw > 2. http://turovsky.org/ > 3. mailto:davidvanooi...@gmail.com > 4. mailto:r.turov...@gmail.com > 5. http://turovsky.org/ > 6. mailto:r.turov...@gmail.com > 7. http://turovsky.org/ > 8. mailto:tribi...@arcetri.astro.it > 9. mailto:dail...@club-internet.fr > 10. mailto:lute@cs.dartmouth.edu > 11. mailto:lute@cs.dartmouth.edu > 12. mailto:hodgsonmar...@cs.dartmouth.edu > 13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > 14. mailto:davidvanooi...@gmail.com > 15. http://www.davidvanooijen.nl/ > 16. mailto:r.turov...@gmail.com > 17. http://turovsky.org/ > 18. mailto:r.turov...@gmail.com > 19. http://turovsky.org/ > 20. mailto:tribi...@arcetri.astro.it > 21. mailto:dail...@club-internet.fr > 22. mailto:lute@cs.dartmouth.edu > 23. mailto:lute@cs.dartmouth.edu > 24. mailto:hodgsonmar...@cs.dartmouth.edu > 25. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > 26. mailto:davidvanooi...@gmail.com > 27. http://www.davidvanooijen.nl/ > --
