>Also worth mentioning that Mace's compositions aren't that bad either.
Yes, seconded!
Mathias
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
The third should read
https://www.karlundfaber.de/de/kataloge/online-katalog/index.php?id=13872
(Molenaer)
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von Andreas Schlegel
> Gesendet: Samstag, 13. Oktober 2012 15:49
Dear everybody,
Currently, I'm copying some pieces from the Werl ms. into Fronimo, viz.
anonymous pieces in the Flat tuning that do not appear in other sources
(unicum). Has somebody been into this before? Is somebody interested in
this stuff or willing to cooperate?
Best wish
>I guess Lutz point would be the old lutenist anticipated (some) ideas
>of the romantic period.
>I don't completely agree - because the concept of the "genius" is
>missing (just to name one element) but it seems true that lute players
>of the period partly followed concepts whic
> 2) A very unusual chaconne by P. Gaultier:
> http://www.youtube.com/watch?v=A6LyGjekKtM
>
> Is this the only piece existing that not only frets notes on the 9th
course but
> actually has slurred runs?
That's part of Pierre Gaultier's personal style of composition, and it
distinguishes him from
> I have retuned my 11 course baroque lute into the world of transitional
tuning
> and have a couple of fun and interesting pieces to share:
>
> 1) A branle ("brawl") by Mesangeau:
> http://www.youtube.com/watch?v=skpVdkRQSd8
>
> 2) A very unusual chaconne by P. Gaultier:
> http://www.youtube.com
hat one may relate to for this matter:
http://youtu.be/jAcHLUkIfDE
http://youtu.be/lv19DBYQzBA
http://youtu.be/8bQ8o6zP9TM
http://youtu.be/m8MjEV9B66U
http://youtu.be/CvwueqWPx7U
http://youtu.be/GkDSywfh5XY
Mathias
> On Nov 19, 2012, at 5:56 PM, Mathias Rösel
wrote:
>
> >> I ha
>Here's an proposal: How about rolling
>when it's appropriate and not rolling when it's not?
Martyn alluded to that point already when he said that rolling may take away
from the power of musical rhetoric. That applies e.g. to the matter of
séparé in French baroque lute music. You can read
Dear Collected Wisdom,
Does someone recognize the following intro to a pop song from the 80ies? The
tab was given to me as a riddle, and I seem to remember the song, but I
can't for the life of me remember exactly. Any help appreciated.
|---a-|-r-a-r-a-r-a-r-a-|---
Oh my, what a mess. Sorry for inconvenience. I try to improve it.
-|---a-|-r-a-r-a-r-a-r-a-|--:|
-r-a-r-a-r-a-r-a-|-d-r-d-r-d-r-d---|-d---|-r-a-r-a-r-d--:|
-d---|-a---|-d---|-d---d:|
-r-
Amazing. Thank you, Reinier!
Von: Reinier de Valk
An: Mathias Roesel
Cc: Lute List
Betreff: [LUTE] Re: Far OT
Datum: Sun, 02 Dec 2012 03:24:30 +0100
Dear Mathias,
It's actually from the nineties: "Narcotic", by Liquido. It's
probably
not a bad thing that y
> According to Wikipedia, Latin was the language of scholarship, science,
and
> internation communication until around 1725.
>
> However, I've not seen much of Latin in lute music.
There is e.g. Judenkünig's Utilis et compendiaria introductio, Janowska's
treatise on lutes (including his famous qu
Thanks to Roman who pointed me to this marvellous recording:
http://youtu.be/MBZlqVndhW8 (Marin Marais, La Reveuse, arranged for the
theorbo, percussion and Chinese violin).
According to the blurb, the theorbo is a Turkish instrument, but don't let
that remarks prevent you from listening!
Mathias
> if memory serves, we have been talking about one interesting question of
interpreting
> German tabulature: when (especially) Hans Newsidler repeated a short note
after
> longer one, did he really mean repeating the pluck, or did he thus just in
this way
> express a note with a dot? Did he mean ju
Bowing as an educated way of greeting someone else is already mentioned in
the Bible. That dates back way beyond antiquity. Yet as for musicians
receiving applause with a bow, that would imply that musicians were
acknowledged as kind of emancipated artists considered worthy to receive
applause.
Ju
(Y) if ya know wadda mean >:^)
Mathias
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
> Valéry Sauvage
> Sent: Friday, April 12, 2013 9:57 AM
> To: Lute@cs.dartmouth.edu
> Subject: [LUTE] Satoh - de Visée
>
>A beautiful one to
>Here are some additional references, although surely Ralf Jarchow's
>facsimile and edition will supersede these references.
>
>
>
>Zofia Steszewska, ed., Tance polskie z tabulatur lutniowych, ii, Zrodla
>do historii muzyki (Warsaw, 1966). 8 pieces and one facs.
>
>Johannes
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Is someone here familiar with creating fonts for the Fronimo software?
Francesco said he cannot do it himself for lack of time, but he'd be willing
to s
Thank you VERY much for sharing this!
Mathias
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
> Nancy Carlin
> Sent: Wednesday, August 14, 2013 8:06 AM
> To: lute@cs.dartmouth.edu
> Subject: [LUTE] more music on my web site
>
> I c
> On 08/20/2013 01:22 AM, William Samson wrote:
> > Interesting new study showing that visual cues are more important
that
> > the sound of a performance in how people judge it:
>
> There must be some truth to it. For instance, I find it difficult to
watch this performer:
>
> http:
> > One of the reasons why the lute and other string instruments were
> > considered superior to, say, wind instruments in the 17th and 18th
> > centuries was that lute players weren't forced to contort their faces
> > (as is someone who blows into a flute).
>
> Yes, but...
>
> > On 08/20/2013 01
> > I have to agree that the visual "choreography" takes away from the
enjoyment.
> Weather it's the fellow playing F C d M (incidentally with some wrong
notes and
> rhythms) who looks like his dog just died, or Tatiana, who looks for all
the world like
> she is experiencing some sort of sexual gra
> IMHO, Vivica is a pale and slightly angry immitator of - the rightly
beloved - Cecilia
> Bartoli - http://www.youtube.com/watch?v=H4It44mYw2I
> For those who like me like to compare performances of the same piece by
different
> performers on Spotify or YouTube, I cannot make up my mind as to whi
Dear Arthur, dear Jean-Marie,
Thank you very much ! May research continue.
Mathias
From: Arthur Ness [mailto:arthurjn...@verizon.net]
Sent: Thursday, August 22, 2013 5:07 PM
To: Jean-Marie Poirier; Mathias Roesel; 'Lute List'; 'Baroque Lute
List'
Subject: Re: [BAROQU
Hans Newsidler has no barre in his tablatures. In the 1st part of his 1536
print, he offers fingerings that would imply forefinger b2, middle b3, ring
c4, little d5 for this chord.
Mathias
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behal
Strap and leather cloth is all I need. The chitarrone does not rest on the
leg, though, but on the outer side of the right leg.
My two cents.
Mathias
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
> Daniel Shoskes
> Sent: Thursday
>ps I meant 'know of any'!
>
>On 2 November 2013 15:58, Helen Atkinson
><[1]helen.atkin...@wordstone.co.uk> wrote:
>
>Dear Luters
>I'm hoping to find arrangements of madrigals for 3 and 4 female voices
>with entabulated lute accompaniment. Am I likely to be disappointed or
> Dear Howard,
> I must confess, that the logic of Your Arguments is always a very great
pleasure, a
> light in the darkness of December.
> Thank You
> Andreas (Berlin)
Wholeheartedly seconded
Mathias
> Am 20.12.2013 19:54, schrieb howard posner:
> > On Dec 19, 2013, at 5:27 AM, Christopher Wi
Why, it's a 10string lute guitar, aka wandervogel lute. Probably
flat-backed.
Mathias
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
> David Morales
> Sent: Sunday, December 29, 2013 6:11 PM
> To: List LUTELIST
> Subject: [LUTE] wh
>So, i guess that guitar tuning would be the right tuning for the top
>six strings, but what about the other four strings? may i suppose that
>the best choice would be D, C, B, A?
>Regards.
Yes, that's how I for one have tuned my wandervogel lute.
Mathias
To get on or off this
Hooray!!!
M.
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
> Bernd Haegemann
> Sent: Sunday, February 16, 2014 7:51 PM
> To: lute list
> Subject: [LUTE] a new prof in Munich
>
>
>
>
>
> Dear all,
> Evangelina Mascard
> Not only did Mesangeau use this tuning a lot. This piece has many
stylistic traits
> characteristic of him.
> I suggest he could well have been the composer. Otherwise someone else has
> deliberately cited from his work. Anyway Tombeau de Mesangeau might mean
> Tombeau by Mesangeau as well as Tom
the impression that
this would be usual way. The tombeau written by Mesangeau would be Tombeau
par Mesangeau.
The easy way to prove me wrong would be to find a tombeau that is headlined
Tombeau de XY where XY is the name of the composer.
Mathias
> >
> > Lex
> > Op 21 apr 201
> Dear David,
> You are probably right - forget the papal rose line. Though perhaps the
> rose reference is some personal link known to those around G at the
> time. But perhaps a gilded rose is likely - I'm just cautious about
> proceeding from speculation to certainty
> It d
ge June 22, 2013!
>
> Wayne
>
>
> Begin forwarded message:
>
> > From: Martyn Hodgson
> > Subject: [LUTE] Re: The "golden" rose
> > Date: May 4, 2014 at 8:35:52 AM EDT
> > To: Mathias Rösel , Lute List
> >
> > Reply-To: Mart
> When I think of 12 course lutes, I think of the ones described by Mace, with
> two peg
> boxes. But the lute Baron is holding looks like a regular
> 11 course lute with an extra course, right?
That's right.
> Seems like there were two types of 12 course lutes.
As regards surviving lutes, I'm
> But on the other hand, it does seem plausible to me that builders
> experimented with
> adding one extra course to 11 course lutes, before they came up with the bass
> rider.
> Maybe Baron played one such experimental instrument?
Can't see why one should assume that. The lute he holds on the f
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Dear Collected Wisdom,
Does someone on this list know if there are facsimiles extant or if there is
another access to the Reymes ms. available (F-Pn
Many thanks to those netters who quickly helped! Much appreciated!
Mathias
> -Original Message-
>
> Dear Collected Wisdom,
>
>
>
> Does someone on this list know if there are facsimiles extant or if there
is another
> access to the Reymes ms. available (F-Pn Rés. Vma. ms. 1404, or s
Rubbers (British English) usually do the trick for me, i.e. getting pinkie
spots off the soundboard.
Mathias
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of
> Martyn Hodgson
> Sent: Monday, July 28, 2014 8:53 AM
> To: Herbert Ward; lu
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Dear everbody,
There is a facsimile of Brno 3.329 online. You can access it at
http://www.manuscriptorium.com/apps/main/en/index.php Enter search word
, click. Tha
Practising is my way of returning the inner self and body functions like
muscle tonus, blood circulation and breath into order. Lute-do, as David van
Ooijen once poetically put it.
Another thing is that some people in my environment just love the sound of
the lute. No need to play virtuoso pieces.
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Dear everybody,
There are three chaconnes, actually written for the angélique, that I've
posted on Danny Shoskes Lute Ning page (thank you, Danny, for
> What about the Fronimo Dialogo :
> Fac simile here :
>
> http://gallica.bnf.fr/ark:/12148/bpt6k582176
That's Michelangelo's father.
Mathias
> -Message d'origine-
> De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la
part
> de be...@interlog.com Envoyé : vendredi
> "Historical practice" was tuning small theorbos in dm, although even this
is not
> very certain (it's mostly based on a few examples, like the pieces by
visee which
> exist in staff notation and theorbo tablature).
That's news to me, indeed. There is a theory that some theorbos were tuned
in D,
Chris,
Ralf,
I was speaking of the "Pieces de Theorbe et de Luth, Mises en Partition
Dessus et Basse", 1716 (facsimile Madrid, 1983). The guitar is not
mentioned. One might take this to suggest that de Visée himself viewed the
pieces as theorbo and lute music.
In his 1983 preface, Juan Marcos rem
> > I was speaking of the "Pieces de Theorbe et de Luth, Mises en
> > Partition Dessus et Basse", 1716 (facsimile Madrid, 1983). The guitar
> > is not mentioned.
>
> I was speaking of the two printed guitar books from 1682 and 1686. No
theorbo
> mentioned in those.
That being so, it was off-topic
> I would object to the idea that some
> version is a "rewrite" of another version. I take all three version
> (guitar/theorbo/score) as renderings of the same compositional idea.
A bit more than that, no? Exact transpositions of the same pieces, I'd say.
Perhaps we won't be able to tell which was
=catalogue I see no results that match 1575 or
> > 25391.
> > Any suggestions on finding them or help in clarifying what the numbers
> > refer to?
> >
> > Regards
> > David
> >
> > -Original Message-
> > From: R. Mattes [mailto:r...@m
NN simply is a gorgeous soloist.
Mathias
PS: My theorbo has 82 cm VSL, and it took a while until I got used to it, but
today I wouldn't say any more that 82 cm is large at all.
> -Original-Nachricht-
> > Subject: [BAROQUE-LUTE] Lute strings for theorbo > Date: Fri, 12 Aug 2011
> 1
> So, now that we seem to have traced down what manuscripts you are refering
> to, would you mind to elaborate a bit about
>
> > Paris BN 1575 and BN 25391 are two theorbo mss. that abound with music
> > by de Visee. Some concordances with Saizenay, but both mss.
> > seem to be much earlier than 1
Jungfrauschaft actually is a noun and meant a) female virginity, b) male
virginity, c) a group of virgins. (BTW, for a) and c), Jungferschaft was a
more common form in High German, during the 14th through 18th centuries.)
In the verse " O haylige, onbeflecte, zart junckfrawschaffte Marie", though,
There is a duet for two 12c lutes in the John Sturt lute book (GB-Lbl Add.
Ms. 38539), according to Ekkehard Schulze-Kurz. But in
http://w1.bnu.fr/smt/0222.htm no such duet is listed. Is someone familiar
with the John Sturt lute book?
Mathias
To get on or off this list see list information at
h
>I'm thinking theorbo purchase... Where does one get a nylon theorbo
>14-course string set? I measured my 8-course lute strings, which went
>from 100cm to 110cm; obliviously too short... Please, no "you must use
>gut(!)" nonsense.
That's correct, it isn't nonsense.
Mathias
lice I'm used
to... :-)
> Garry
>
> -----Original Message-
> From: Mathias Rösel
> Sent: Sunday, August 28, 2011 5:47 PM
> To: lute@cs.dartmouth.edu
> Subject: [LUTE] Re: long strings?
>
> >I'm thinking theorbo purchase... Where does one get a nylon t
> I suppose you're talking about this:
>
http://quality1trader.co.uk/musical-instrument/strings/lute/theorbo-bass-lut
e-
> medium/
You can watch it: http://www.youtube.com/watch?v=CNJaYInbbhs
Mathias
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admi
>I'vev been doing a little checking up on Tombeau de Mezangeau and it's
>attributed to Ennemond "Vieux" Gaultier rather than Denis - his younger
>cousin.
No argument about this. Denis took care of both his own and his cousin's
music in this edition. "... on se plaint que les copies de
> Really interesting. I'll have a look at flat tuning and see what I can
make of it.
Do you happen to know the Fronimo software? Transcripts from one tuning to
the other are really easy. Two clicks, and there you are.
> When you mention the awkward stretch in measure 8 - would that be the 8th
b
>anyone done any studies to see if there are concordances of the same
>piece in different tunings and how much this might have been done?
I'd be keen on such a study as well. Andi Schlegel has rightly raised the
question if the Oeuvres de Vieux Gaultier edition (CNRS) can be considered
com
> That's not Denis Gaultier!
>
> If it's a Gaultier, then it's Jacques.
> see:
>
http://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery
/obra/man-with-a-lute/?no_cache=1
That's not Jacques!
See:
http://www.drawingsandprints.com/CurrentExhibition/detail.cfm?ExhibitionID=3
Was wrong list, here goes again:
> So is there actually any reason to believe there is any connection to
> any of the Gaultiers?
The painting is dated before van Dyck's first journey to London in 1620. It's
not Jacques, that much is clear. Neither Denis who still was a teen at the time
(and lo
Yes, and Ron Andrico edited quite a few of them, or so I seem to remember.
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von Nancy Carlin
> Gesendet: Mittwoch, 21. September 2011 04:28
> An: Thomas Walker; lute@cs.dart
Dear Collected Wisdom,
What do we know about Pietro Paolo Melii other than that he is
mentioned at the court in Vienna in 1612 and 1619 and that leaps in his
music caused discussions about assumed extraordinary octave stringings?
Have some more details about his life come to light?
Obviously, nothing is known so far.
Then, what about Gianoncelli? Doni?
In a preface, Orlando Christoferetti wrote that what became to be known
as French stile brise in the 20^th century, was developed by Italian
lutenists long before the French showed up with it. The characteris
I beg to differ. But I think weh ad this discussion, it's in the archives.
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von Ron Andrico
> Gesendet: Freitag, 21. Oktober 2011 15:48
> An: chriswi...@yahoo.com; lute@cs.d
Erm, yes, and that's not what's in the Wemyss ms. The Wemyss ms. has edeff
(sharp tuning) and dedff (flat tuning), ascribing them their respective
names.
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von Andreas Schleg
Dear Everybody,
not sure if this has been discussed before, as the archives are unavailable
currently. In John Danyels 1606 publication, there is a piece on the last pages
(22-3) with a special lute tuning. It is a solo piece (variations on
Greensleeves), and Danyel gives a chart with the inter
Sorry for inconvenience ...
Dear Everybody,
not sure if this has been discussed before, as the archives are unavailable
currently. In John Danyels 1606 publication, there is a piece on the last pages
(22-3) with a special lute tuning. It is a solo piece (variations on
Greensleeves), and Danyel
Andy, this was meant to go to the list, I suppose?
-Ursprüngliche Nachricht-
Von: andy butler [mailto:akbut...@tiscali.co.uk]
Gesendet: Dienstag, 25. Oktober 2011 21:22
Mathias Rösel wrote:
>
> Translated into pitch, the tuning would possibly be:
>
> 1. B4 - F#4 - D4 -
Thank you, everybody who responded! This list is a treasure trove.
Yours,
Mathias
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> My guess is
> that the "general pitch" at this period was around a tone lower than
modern, so
> a "G lute" may have been around 67cm string length. I think one of the
songs
> uses a "bass" lute in (nominal) D, so this may have been quite a big
beast.
>
> The strange tuning used for "The Leaves
Found it: http://www.cbc.ca/video/news/audioplayer.html?clipid=2157771804
(24:30--30:00). Thank you for sharing this! Have you got responses,
Benjamin?
Best,
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von be...@int
The first part of Playford's Harmonia Sacra was published in 1688. That's
twelve years after Mace's Musick's Monument which is considered today as
old-fashioned in its claim for the 12c double-headed lute as a standard
lute. Nevertheless, the 12c double-headed lute still was played in England
aroun
Well, with sheep, prion disease is called scrapie, isn't it, and it was
known long before mad cow disease turned up.
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von R. Mattes
> Gesendet: Mittwoch, 16. November 2011 1
> Neverthelesse the Tune self of the same .F. Is found in the same
> compainie, and eight of the greate fift stryng:
> which reason could not be in Lutes, tuned after the manner of Fabrice
Dentice
> the Italian, and other his followers. Where those strynges that satnde
twoo and
> twoo together, bee
> Online German translators don't recognise 'beger', 'nit' nor 'mer' as
German so I
> don't have a clue what the title means.
Ich bege[h]r ni[ch]t me[h]r = I do not covet more.
Mathias
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
And, yes, nice and well performed, Stuart!
Mathias
> -Ursprüngliche Nachricht-
> Von: Mathias Rösel [mailto:mathias.roe...@t-online.de]
> Gesendet: Sonntag, 27. November 2011 15:07
> An: 'Lute Net'
> Betreff: Re: Something old and something new - Conrad Pa
I cannot believe this. Does someone know if that mess-age is reliable?
Does someone know Michael's whereabouts?
Mathias
Von: Michael Thames [mailto:michael_tha...@msn.com]
Gesendet: Mittwoch, 30. November 2011 10:24
An: undisclosed recipients:
Betreff: SAD TRIPMichael
> The discussion started on baroque lutes. Not many lute songs with
intabulated
> parts for those.
If any. I'm not aware of lute songs for the 11c / 13c lutes.
Mathias
If anything, there will be a continuo part. No need to even
> discuss transposing: just do it.
>
> David
>
>
>
> --
>
r 2011 21:05
> An: 'Mathias Rösel'; 'Lute List'
> Betreff: [LUTE] Re: SAD TRIPMichael Thames
>
> Michael writes directly from (a different address), "Eugene, sorry my
account
> was hacked this is a scam.."
>
> Eugene
>
>
>
> This discussion feeds into one of my pet theories: That Cabezon's
>keyboard tablature could be read by professional vihuelists and
>harpers. Cabezon's tab is quite straightforward and logical. Any
>thoughts?
May I repeat myself:
Organ tablature is not a tablature like lute tabla
>Funny, I always looked at it the other way around, that keyboard notion
>is tablature: each note refers to a spot on the keyboard.
That is so, indeed, with the so-called Italian keyboard tablature which has
happened to develop into modern staff notation. In Italian keyboard
tablature, eac
> > For players of theorbo or archlute, it has sometimes been the other
> > answer.
> >
> For early music ensemble directors engaging a theorbo player, it is only
the
> other answer.
The other way, I chose my first baroque lute. It had to be a swan-neck, of
course. That was 20 years back. I was un
> Christmas Book/CD
>
> http://www.guitarandlute.com/christmas_lute.html
Did I forget to mention?
File: /Tablatures/Nun-komm-der-Heiden-Heiland.ft3
Description : Chorale with two beautiful doubles from D-Rou XVII-54, two
versions (11c and 10c lutes)
You can access this file at the
Dear everyone,
There is a dance in triple time in Panmure 5, fol. 17v-18, that
probably is neither a courante nor a sarabande, lacking their
chracteristic rhythms. It has hemiolas in cadences, but also other
characteristic rhythms, though, like crotchet - minim at some ends of
p
> Where can I find Panmure 5 so I can get an idea of the music you are
talking
> about?
> I suppose it is for a 10 course lute tunes in one of the transitional
tunings.
> Do you have a copy or a link?
I shall send pdf and midi files to anyone who lets me know they are
interested in the piece.
Mat
ar with English tunes of the 1630ies. - Anyone?
Mathias
> >
> > Please find the related files attached. Curious, what you think about
it!
> >
> > Mathias
> >
> >> -Ursprüngliche Nachricht-
> >> Von: Lex van Sante [mailto:lvansa...@gmail.c
Dear Lex,
You made my day. Thank you very much!
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von Lex van Sante
> Gesendet: Dienstag, 10. Januar 2012 11:40
> An: Mathias Rösel; lute mailing list list
&
ountry
dance (in brackets). That seemed improbable to me, and that's why I was
looking for the correct title.
Mathias
> ---Messaggio originale---
>
> Da: Mathias Rösel
> Data: 10/01/2012 17.44.06
> A: 'lute mailing list list'
> Oggetto: [LUTE] Re: Dance in ti
>>Puritan? 1670s? With that Unreconstructed Good Time Boy Charles II
>back on the throne since 1660? I don't think so! Besides 'Puritanism'
>is a much misunderstood concept, thanks to >the 19th century.
IIRC the initial question was about the probability of baroque lute music
being pla
315 Euros, that'll be the final bid! Howgh!
Mathias
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
> Auftrag von howard posner
> Gesendet: Samstag, 18. Februar 2012 06:55
> An: Lute Net
> Betreff: [LUTE] Re: Announcement of lute for sal
> OK. thank you. Now I am sure that he died. I am not interesting into buy
his
> book. I have it already in the library. But do you know something more
about his
> private library, collection? To which research centre he was attached?
To none, but his private library was given tot he library of th
> -Ursprüngliche Nachricht-
>Famed Czech radical Josef Skvorecky recently died at 87 in his adopted
>land of Canada.
>In the Atlantic, JJ Gould remembers Skvorecky through his memoirs,
>including a detailed list of the rules for jazz performers during the
>Nazi occupatio
>Anyway, the question of instruments in church has been debated ad
>nauseam. It seems that it was fairly common practice in the 16th
>century, and that it was widely accepted in the 17th century with the
>advent of motets with continuo accompaniment. "The Lute in Christian
>Sp
> Here here. Edit away Monica.
>
> I'm not a scholar, simply a humble lute player who relies on all sorts of
sources
> (Grove being one
) for my learning and historical context for my
instrument.
> Personally I'd prefer Wiki was edited by the scholars that know, rather
than
> remain out of date or
> I'm not so sure. He may not be right.
We have a saying in German, perhaps it's a quote actually, that goes:
Intellect is the only fair-distributed thing in the world, as most people
think they've got enough of it.
Mathias
> Dear lutenists,
>
> after having read every now and then some quite
> Please correct me if I'm wrong, but didn't Martin Luther, circa 1500, say
"Why
> should the Devil have all the best music?", and took his lute and recorder
to the
> German taverns to play his hymns.
May I say at least that this is news to me: Luther playing the recorder, and
Luther playing and s
hen Stubbs
> Gesendet: Samstag, 17. März 2012 05:30
> An: Mathias Rösel
> Cc: Lute List
> Betreff: [LUTE] Re: Nazi rules correction!
>
> Reference:
> Luther, Biography of a Reformer, by Frederick Nohl, Concordia
> Publishing House, 2003.
> ISBN 0-7586-0651-6
>
>
Dear everyone,
Im pleased to announce that some more music by François Couperin has been
intabulated for the theorbo and has been made available by Christoph Dalitz.
Christoph is an expert on arrangements and adaptations. His arrangementments
of Couperin's music are of intermediate difficulty. Yo
playing the lute in
taverns? French lutenists who were caned for attempting to do it in English
taverns? That's for Kneipe, I guess ...
Best,
Mathias
> -Ursprüngliche Nachricht-
> Von: Stephen Stubbs [mailto:fartrea...@gmail.com]
> Gesendet: Sonntag, 18. März 2012 22:38
>
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