Re: MO's attacks
I take the privilege of a newbie, and that to comment without knowledge of the participants. Fifteen years of running email lists, since before the web. To all of you on this thread I say that the vituperation that is off topic (the topic being the nature of the lute and the nature of the music, and the enjoyment of the music) is cluttering my email, and that of the rest of this list. Ariel, MO, Roman and others are arguing matters of copyright and the publications of various people. The writer, or editor, of a book can say anything he wants to say. Just because it is in print doesn't mean it is right. These issues should only be relevant if they are promoting their product to naive lutenists on this list, and then the issue should be a personal argument off list. If this were to happen on one of the lists I run (unmoderated) I would write an email to each of the parties off list and ask them to stick to the topic of general interest. And I thought I'd be anathema by sticking to my guns on the lute that isn't traditional, I guess I was wrong (and I thank those who have informed me well). There is a matter of good manners, and that doesn't only involve the treatment of one's particular correspondant, it also involves the involvement of an entire list in an internecine war. It is not a matter of censorship, which can't and shouldn't be done on an open listserv. It is a matter of self control, and keeping the argument from becoming an op ed column on the list. I intentionally don't speak to the issue at hand. Best, Jon
Re: lute vs.guitar / how to convert the guitarist?
I have played during many years lute music on the guitar. From 1999 I play an excellent and slight 10 strings guitar , with strings of Mimmo Peruffo in nylgut , but at the moment I have already ordered my first lute to Ivo Magherini (A 11c Berr ). My last conversations with Ariel Abramovich encouraged me to it besides that a lot of music of Baroque lute adapts difficultly to the guitar, even to that of 10 strings.. In the guitar that that better it sounds (if one plays well) it is the music for 10c 10c and Baroque lute. The same temperament is not adapted for the oldest music. I don't play Dowland on the guitar, their music is too delicate, they sound better other authors as Robert Johnson or John Sturt! Best regards, Jose-Luis Rojo
Re: looking for a lutar - forwarded
And SimonShuster tap dancing Scarborough Book Fair RT An arrow in my heart, Roman, the old Ionic mode version was a fine song, the new Doric version by Simon and Garfunkle is a pretty song, but misses the meaning of the lyric. Were I a publisher I'd promote my version using the full text with the old tune for the male and the new one for the female. But I'm just an amateur, and not a publisher, merely one who loves the music. Best, Jon
Re: MO's attacks
Jon Murphy wrote: To all of you on this thread I say that the vituperation that is off topic (the topic being the nature of the lute and the nature of the music, and the list. Ariel, MO, Roman and others are arguing matters of copyright and the publications of various people. The writer, or editor, of a book can say anything he wants to say. Just because it is in print doesn't mean it is right. These issues should only be relevant if they are promoting their product to naive lutenists on this list, and then the issue should be a personal argument off list. If this were to happen on one of the lists I run (unmoderated) I would write an email to each of the parties off list and ask them to stick to the topic of general interest. I could not agree more Jon. While this discussion does raise some interesting points, it is clearly off topic. Furthermore, the parties involved have crossed the line of civility on several occasions and I personally have no interest in seeing them duke it out. This is not a matter of freedom of speech, it is a matter of good manners and respect for others on the list. This bar brawl could have been avoided if the gentlemen involved would have agreed to take it outside so as to avoid involving the rest of us in this ugly altercation. Serge-André
The cost of lute music
Dear All, Recent mailings to the list have set me thinking about the cost of lute = music. In my experience it's always been expensive - my copy of Diana Poulton's Dowland edition cost the equivalent of my two weeks wages when it was published. I didn't resent it at the time - it was incredible to see all = of the music for the first time. Since then, although I work in a reasonably = well paid profession, the cost of living and raising a family has necessitated a = special effort to acquire most of the lute books on my shelf. I have winced on = occasions when writing the cheques, but I get a lot more enjoyment from the music = than I do from the huge sums I pay the garage to service my car! Some of the = music I am interested in has never been published, which for me necessitates = the time consuming and often costly process of trying to get a microfilm print = from the library=20 that holds the original - doing this puts a fresh perspective on the = cost of facsimiles! All in all, I'm grateful to all of the publishers who have taken the = trouble to make lute music available - when I started playing there was very little = available, so it's much, much better today.=20 Whilst reflecting on this I began to think about the cost of printed = lute books in the 16th century - how did the cost of books then compare with now? In the one tantalising reference to Petrucci's Libro Tertio of Giovan = Maria=20 (quoted by Brown, Instrumental Music Before 1600, [1508]1) from the Regestrum B of the Biblioteca Colombina, Seville, the final line of the entry reads: Costo en Roma 110 quatrines por Setiembre de 1512. I am neither a linguist nor a numismatist, but I guess this refers to the cost of the book? Can anyone throw any light on what this means, and if it is the cost, how it relates to the present day? Best wishes, Denys --
Re: FW: MO's attacks
And with this you go to my kill-file. Get you quick-thrills on Classical Guitar NG or somewhere else. And if you ever insult or use vulgarity against any member of Polyhymnion Well, don't make me hurt your feelings. This is a practical question: if you put me in your kill file, how would you know who I insult and how? So for you this is only a game How sad... Added MO to the killfile. mb __ Do you Yahoo!? The New Yahoo! Shopping - with improved product search http://shopping.yahoo.com
Re: swan neck vs. bass rider
Hi, Markus, thank you for looking up swan neck. I would not be surprised if someone came up with the discovery that the name was invented during 20th century for the sake of convenience, like stile brisee was named in the beginning of that century (but not in 17th). And how do you interpret the sentence he can be called the Father of the lute? I can only understand it in the way that he was of highest importance that the lute became what she became then. She never says he was the first, but in my eyes her statements come quite near to this. He changed the lute from 11 to 13 courses and he theorbified it - what else should this mean, that he was responsible for this changes. If she is right, that is another problem, and everyone is free to doubt that. But I think her words are very clear. I take her statement the way I take St Paul's statement that Abe became the Father of the faithful and the circumcised (Romans 4:12). Or, in terms of linguistics, like SHussein's announcement of a Mother of all wars. (It is a Hebraism or, if you will, a biblicism.) Luise Gottsched can clearly be considered a predecessor of those many enthusing admirers and fans of Weiss' music and, inferentially, person, in our days. article of Eszter Fontana, where she writes of the theorbo case (Mathias you can read it on p.60!) for the interested public: Eszter Fontana, Raetselraten ueber einen Theorbenkastenkasten in Leipzig, Die Laute IV/2000, p. 48-63. It is a brilliant article, ideed, ought to be translated into English. Perhaps that is on the way already (is it?). On p. 59, Fontana cites from Gottsched's article on Weiss: Er hat sie nicht nur von elf Choeren auf dreizehn gesetzet, sondern da er auch ihren Hals gerade gemachet, oder theorbiret, sie in den Stand gesetzet, dass sie nunmehr in den groessten Concerten mit spielen kann. (He not only put the number of courses from 11 to 13, but also, by straightening its neck, or theorbifying, made it possible that the lute can be used even in very large orchestras.) no mentioning of swan neck or straight neck. (In this case, I take straightening its neck as opposed to bent lute necks.) Ex negativo, I derive it that LGottsched would have mentioned the swan neck if it had mattered to her. After that, Fontana quotes Marpurg, speaking of Baron's 1737 visit in Dresden in order to acquire a theorbo nach seinem Geschmacke (according to his taste), and says: Wir glauben, dass es sich um ein Instrument mit geradem Theobenkragen handelte (I believe that that was an instrument with a straight theorbo neck.) There you are. No further comment on that. Also, Uffenbach's letter, which Fontana quotes from, does not mention a particular form of theorbification like a swan neck. Theorbify the way Mr Weiss has it done, to me, simply means that Weiss had his lutes theorbified, no matter if swan neck or straight, as opposed to standard 11c bent neck lutes. Weiss himself and Gottsched name the intention: in order to play in an orchestra (even a large one). In another letter Weiss says that he played in an opera and during that very performance successfully accompanied a solo singer with his theorbified lute. That's why his theorbified axe was superior to proper theorboes or archlutes: He didn't have to change the instrument between tutti and recitativo. And even if he was not the inventor of it, his name was very closely connected to it as the letter of Mr. Hoffmann shows, who should know it! closely connected, yes, indeed. In her last note of that abovementioned article, Fontana says that one may consider the 17th century theorbo, in the shape already to be seen with Mersenne, a predecessor of straight necked lutes, and that 1704 angelique by Joachim Tielke a predecessor of curved swan neck lutes. Just two possible ways of theorbification, which was far from being new in 1717. What may have been new in Germany, however, was that it was done to a former lute, which thus became what in Italy, country of Weiss' crucial musical experiences, would since 1594 (!) be called an arciliuto. (Cf. R. Spencer, Chitarrone, Theorbo and Archlute, chapter on Liuto attiorbato + note 45.) To put it short, I think Weiss brought his theorbified lute from Italy, where it was common, together with his improved (italianized) playing and composing technique. On the grounds of evidence, I'm afraid, we will not know for sure whether the change or invention brought up by Weiss in 1717-9 was a swan neck. Swan neck was/is just one possible variant of theorbification. What's for certain, however, is that swan necked lutes strike the eye, and probably more pleasantly so than a straight necked theorbified lute. And I suppose _that_ is the true reason why it is the instrument of choice for many a player today. -- Best wishes, Mathias Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/ Germany, Tel +49 - 421 - 165 49 97, Fax +49 1805 060
Re: lute vs.guitar / how to convert the guitarist?
Excuses for my low English level. I mean that, in the event of playing lute music on the guitar, it is better to play the music of the XVII-XVIII centuries that adapts better to the equal temperament of the guitar and their expressive and better possibilities if the rest-stroke is not used and it is not abused of the vibrato, besides using strings of low tension and a minimum of fingernails or better anything, like I am me playing at the moment, until I receive my first lute in June 2004. Best, José-Luis
baroque lute list
Hi Wayne I wonder if I could get the baroque lute list postings once a week as I now get the regular lute list. Dick Brook
Re: Reflexe CD's (O'Dette - Smith Italian Duets)
Roman, I note that you refer to the Village Tower in response to someone (haven't got the headers straightened out) who went to a Cambridge Tower. May I assume that is the US Cambridge, and that the Village Tower might be in NYC? Yes. NYC has 2 Towers, Village and Lincoln Center. The latter does a little better financially, but the former had better Early Music selection, because of the buyer's proclivities for it. If so I'd like to get in touch and see and hear a traditional lute in person. There aren't many lutenists in NYC as the size of the city would suggest, but Pat O'Brien is still teaching here. I'm but an hour from NYC, and often there having lived in the Village for over twenty-five years before moving out of the city (my friends had died, retired out of state, or retired to the bar of the White Horse saloon at noon and non compus mentis by five - I chose to leave the Village and look to other things, leaving it to the new crop of poets, musicians and hangers on (mostly the latter). I obeyed Ecclesiates, for every thing there is a time and a season. White Horse [a favorite Dylan Thomas hangout] is still there. But if there are lutenists in the NYC/NJ area I'd love to hear the instrument directly. Luthier Cesar Mateus lives near Princeton. And there are a few lutenists on the Jersey side, a dozen or so in the City. You should get a directory with you LSA membership, very useful both. In any event I'd be happy to offer a demo (Baroque Lute only). RT
Re: MO's attacks. Final, para mi
__ Roman M. Turovsky http://turovsky.org http://polyhymnion.org From: arielabramovich [EMAIL PROTECTED] Date: Sun, 12 Oct 2003 19:05:59 +0200 bring back the exchange to a decent point. Just a proposition. I'm 27, if that matters. A My twins are 3 1/2, and they are now into testing our limits, just like MO RT
Re: The cost of lute music
I'll add in a couple of months couple of vihuela songs in which I've been working. You can tell me what's the best place for them to be. Best, A
Re: swan neck vs. bass rider
Markus Lutz [EMAIL PROTECTED] schrieb: how do you interpret the sentence he can be called the Father of the lute? He changed the lute from 11 to 13 courses and he theorbified it - what else should this mean, that he was responsible for this changes. I take her statement the way I take St Paul's statement that Abe became the Father of the faithful To take a word figuratively doesn´t prevent you from thinking of its sense. okay, then let me put it this way: It's a vast exaggeration. Luise was an ardent fan of Leopold's, that's it. In fact, she describes what he came up with his lute from a perspective of a disciple who has always followed her master. And makes it up. I mean, let's get serious, who would have called Weiss Father of the Lute in a literal sense? Or look at those many different types of lutes (theorbified or not) current in those days (see Lundberg on this) - what could it mean, that he changed the number of courses or theorbified his lute?! That had been done by others an uncounted number of times before. no mentioning of swan neck or straight neck. (In this case, I take straightening its neck as opposed to bent lute necks.) Ex negativo, I derive it that LGottsched would have mentioned the swan neck if it had mattered to her. I don´t understand that. Evidently most of the lutes of that time had been rebuild as theorbified lutes in the way of a swan neck (Gottsched can´t know the word swan neck lute). nope. See the graphs in Lundberg's Erlangen Lute Building Courses, or his History of Lute Building. Swan neck is only _one_ possible shape among others. Why not ask for construction plans? sorry? Plans of an instrument assumedly used on a special occasion that is mentioned in a letter? Are you kidding? As Michael and I have discussed, probably the instrument Weiss speaks of is a theorbo and no lute. The theorbifying of his lute might have been later. sorry, Weiss calls it a lute in his letter to Mattheson (21st March 1723), where he describes the occasion (quoted in: Joural of the LSA XXXI/1998, p. 25). From that very letter it is usually taken that Weiss had a large theorbified _lute_ at that time. Who was saying that in 1717/19 he made a swan neck lute? In 1717/19 Weiss was changing the baroque lute from 11 to 13 course. That was the first thing Gottsched spoke of. No. That was what Tim Crawford claimed in writing that Weiss' first piece to require a 13th course is from 1719. DASmith has so far established that hypothesis by saying that there is no piece using a 13th course by another composer before that time. However, LGottsched has no dating as for the increase of courses. I do very much look forward to the issuing of the forthcoming Journal of the LSA where our topic will be dealt with in detail. -- Best wishes, Mathias Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/ Germany, Tel +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67, e-mail: [EMAIL PROTECTED], [EMAIL PROTECTED]
Enlightenment Sought
I wonder if someone could help me out here ? I know technologies are proliferating at an alarming rate ( just yesterday I was paging through the fall O'Reilly catalog and noticed there is now something called Squid, complete with its own 472 page, $44.95 Definitive Guide ) but, despite 30 years of experience with computers and 50 years experience speaking English, I find myself unable to parse the following phrase: Polyhymnion is a stupid pretension to a simple Internet function I know about functions, virtual functions, functions that return a value and those that don't, pointers to functions, arguments passed by value and those passed by reference, arrays of functions, virtual function tables, member functions, friend functions, static functions, private functions, public functions, API functions, method functions, function prototypes, improved functionality, vector functions and scalar functions. I've even heard of kernel extensions. But a simple Internet function remains a mystery, let alone a pretesion to one and the criterion by which we make classify it as stupid or non-stupid. Perhaps this is part of .NET ? If so, that would explain it, as I try and avoid Microsoft Technologies. seeking enlightenment in Massachusetts Replies: (remove the ) Ekko Jennings: [EMAIL PROTECTED] Bob Clair: [EMAIL PROTECTED]
Re: Enlightenment Sought
At 04:23 PM 10/12/2003 -0500, BobClair or EkkoJennings [EMAIL PROTECTED] wrote: despite 30 years of experience with computers and 50 years experience speaking English, I find myself unable to parse the following phrase: Polyhymnion is a stupid pretension to a simple Internet function Why don't you take a look at the page in question: http://polyhymnion.org/superdirectory.html As far as I can tell, it is, at best, a list of links to pages by people who are approved by Roman Turovsky as having an acceptable level of intelligence, culture, philosophical this or that, or qualify to his world view of himself as an elitist super hero of culture. In short, a list of Roman Turovsky's own list of sycophants. There is nothing particularly unusual for a list like that, and there are virtually thousands like it on the Internet. What I find obnoxious, and a discharge of hot air, is the pretension, enunciated by RT several times in this group and elsewhere, that being listed on that page somehow relegates the listee to a special status of excellence. I would posit that whatever excellence any one of those listed has is entirely independent of the fact that they are listed by Roman Turovsky. a simple Internet function remains a mystery, Nothing as complicated as your extensive parsing would show. I have only 19 years of experience with computers, mainly as a user, and only 48 years experience with the English language, my third language. If my statement was not clear, I hope the above commentary would satisfy your curiosity. Matanya Ophee Editions Orphe'e, Inc., 1240 Clubview Blvd. N. Columbus, OH 43235-1226 Phone: 614-846-9517 Fax: 614-846-9794 mailto:[EMAIL PROTECTED] http://www.orphee.com
Re: The cost of lute music
Denys Stephens at [EMAIL PROTECTED] wrote: Costo en Roma 110 quatrines por Setiembre de 1512. I am neither a linguist nor a numismatist, but I guess this refers to the cost of the book? Can anyone throw any light on what this means, and if it is the cost, how it relates to the present day? An extremely difficult task. In modern Italian, says my dictionary, a quattrino is a moneta di poco valore, translated along the lines of farthing, or penny or cent. Non valore un quattrino means worthless. I'm guessing it's not a common expression, because none of the Italian-speaking correspondents have offered this information. This doesn't necessarily tell you what a quatrine was in 1512. The word, like the English farthing, may mean a quarter of a penny. Scholars who try to provide context for old currency amounts (this came up in very good book about Mozart, a propos of exploding the myth of his poverty; I wish I could remember the title or authors) start by examining common known expenditure items: rent for a dwelling, or the annual earnings of a servants or others whose salaries were recorded, or the cost of a horse. But here's the hard part: even if you could figure out how many loaves of bread, shoes or lute strings 110 quatrines could buy in 1512, you'd still be at a loss to come to an equivalence in 2003 currency, because people bought different things and things had different value--you don't know whether bread, shoes and lute strings were more expensive or less relative to each other or something else, and so many of the things we buy now (computers, newspapers, CDs, laser surgery, stereo equipment, gasoline, powered sex toys, heroin, cars, elections, hamburgers, electricity, potatoes) didn't exist then. Try this: does $10,000 US buy more, or less, than it used to? It depends on the standard you use to measure. About 20 years ago, if you wanted a computer, $10,000 would buy a Lisa, now known as the forerunner of the Macintosh. These days, the same money will get you five or six Macs that make the Lisa look like a toy. On that measure, currency is worth more. On the other hand, $10,000 would have bought my house when it was built in 1949. These days, good luck finding a new car for that money. These days, we have a cost of living index that creates a serviceable average of such things for general purposes, but it doesn't tell you much if you're in a non-average economic position (for example, if a great deal of your money is spent on theorbos and strings). If you actually do come up with enough information to equate 110 quatrines with modern currency, you'll probably want to write a book about it. If you do, I trust you'll mention me in the acknowledgments page
Re: lute vs.guitar / how to convert the guitarist?
I came to the Lute by way of the Guitar. For me the desire to play early music on the instrument it was written for was greater than my fear of the Lute, I desired a Lute to play. As to the tablature. If you start with French Tab, anyone with a degree of intelligence will soon find out that tablature is far easier than staff notation and will soon ask why guitar music uses staff notation where positions are often called into question because of re-occurring octaves. As to the flat back Lutes. I would suggest that this is a dead end leaving the student with an instrument no one else will want when he/she decides a real Lute is needed. There is also a problem with the tonality of the instrument. According to Lundberg , in his book about construction of the Lute, the rounded back of the instrument provides much in the way of overtones that make the sound of the Lute unique and beautiful. If difficulty in holding the instrument is a problem that too will only be partially solved with a flat backed Lute, the player will still have to deal with the rounded front of the instrument lacking the convenient indent you have on the Guitar. As to nails. That could be a problem, though when I first started the Lute I continued to use nails as on the Guitar. I latter realized that the tone of the Lute greatly increased in value without the nails and I have since shed their use. However this does not necessarily mean you have to cut your nails in order to play the Lute, you use have to use a proper technique. I know this can be done because this is what Julian Bream used to do, play the Guitar with nails and the Lute without, and this is in the same concert. I asked him about this after a performance I was privileged to attend many years ago. So it can be done. Vance Wood. - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED]; [EMAIL PROTECTED]; [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Sunday, October 12, 2003 7:41 PM Subject: Re: lute vs.guitar / how to convert the guitarist? Hi Jon, Thanks for your comments and ideas, your musical background is very interesting. I love all kinds of folk music also. Two things you mentioned are definitely part of the issue for my classical guitar students: the commitment in time and money. They already feel they don't have enough time for guitar, and the lute looks like something strange and difficult that will take even more time. Although most of them have money for fine guitars, the thought of shelling out $1,500 to $3,000 for a decent lute that they're not sure they'll even be able to play, well... I would like to hear about your lute kit, maybe that's one answer: it's inexpensive, and the flat-back is less scary (even the round bowl worries a guitarist). It might be like learning to ride a bike with training wheels, when you're ready and feel confident enough, you take 'em off. So, maybe it's not a lute, but might serve as a transitional instrument. If I get a beginning classical guitar student who doesn't have an instrument, I can send him to any music store, and he'll be able to find something used, but usable, for $300 or less. This question of how to get a guitarist to try lute is interesting to me because many amateur guitarists really like renaissance and baroque music and play it on their guitars. I just think they would enjoy it even more on a lute. Here's a list of what they imagine will problems: 1. The double-strings - it must be harder to play because of that 2. The tuning - They'll have to relearn all the notes 3. The round back - too slippery and awkward 4. Tablature - too weird 5. Can you play it with nails? 6. Frets - they're tied on, you're kidding? I could make that list longer, but you get the idea. As lutenists, you know most of these things are not a problem at all; although there does seem to be a concern of how to hold the lute. :) However, I did sell a lute to guitarist recently who just picked it up, stuck it on his right leg, rested his right arm on it and said great, feels good, no problem. A good attitude never hurts! Basically, I think the problem is a fear of the unknown, the lute looks strange to a guitarist (very beautiful, but strange), and they haven't had the chance to just spend some time handling one and getting familiar with it. One other problem is who's going to be their teacher? A very thorough instructional video might be helpful; I'm surprised no one's done that. Ronn McFarlane's video is great, but not, strictly speaking, a 'tutor'. Thanks for the interesting responses so far, James Edwards p.s. Wasn't Wildwood Flower the melody Guthrie used for Rueben James? --
Fw: MO's attacks. Final, para mi
- Original Message - From: Vance Wood [EMAIL PROTECTED] To: Matanya Ophee [EMAIL PROTECTED] Sent: Sunday, October 12, 2003 8:04 PM Subject: Re: MO's attacks. Final, para mi Not wanting to get into this debate on the political level, MO does bring up a good point you might want to take seriously. Very often Movie Stars hop on a political band wagon with a load of off the wall crapola as if their appearance in some movie or another has made them some sort of authority on some sort of political issue. In this country every one has the right to believe what they like, tell anyone who will listen what they think, and even be a public fool. However, because of some of the political stands some of these individuals have made; some movie personalities, I once admired for their work, now turn my stomach and I refuse to support what they do at the box office. Believe what you want, support whom you desire but you will not make friends or supporters for your musical endeavors, regardless how good you are, by offending members of the very small group that provides the very large share of support for your art. If I were an agent representing performers I would make them sign a contract to the affect that they will remain apolitical, publicly, or their contract would become void and my representation withdrawn. I suppose it is possible that one might come up with all kinds of arguments that prove I am wrong, and chastise me for suggesting they should not express their point of view. But in the end as much as some on this list detest Capitalism, it is Capitalism none the less that pays the bills. My father used to tell me that a thing is worth only what someone else is willing to pay for it. If by your political ramblings you offend enough people you will have, by yourself, made your musical brilliance worthless through the simple fact that fewer individuals will be willing to shell out the bucks to listen to your recordings and live performances. I know there are some on this list that are reputed to be fine Lutenist that I would not go to one of their live performances for a dollar if the theater or concert hall was across the street. I don't think I am alone, and maybe only one of a few, but when making a living at playing the Lute or other early instruments is dependant on someone paying money to listen to you one less attendee at a concert or purchaser of a CD starts to take on importance of a personal nature you should not ignore. Vance Wood. - Original Message - From: Matanya Ophee [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, October 12, 2003 5:22 PM Subject: Re: MO's attacks. Final, para mi At 07:05 PM 10/12/2003 +0200, arielabramovich [EMAIL PROTECTED] wrote: Mr MO wrote, . You might grow up one day and realize that an NJB who is also a Maoist-Buddhist-vegetarian, is an aberration that does not deserve an anthropological interest, but a clinical one. You don't have any sense of humour, Don't you? There is no way to tell what is said here in jest and what is serious. If you have not learned that about the Internet yet, you have a long way to go. One thing, and is just a kind offer: people have already had the chance to read what we both think, so I don't see any reason to continue with the attacks. After yesterday I've said that I would stop, you just went on, and I really don't see the point anymore. That's your choice to make. You said you'd stop, but you keep on going. Was it a joke or a lie? I, on the other hand, never said that will stop and that I will continue to denounce your idiotic juvenile posture. So the best way for you to stop me, is to shut up. I'm 27, if that matters. Matters a great deal. Tells me a lot about the sum total of your life's experiences. I am 71 years old. I have seen jerks like you come and go for generations. If you are really all that good as Roman says, and you are looking for a future as a musician, I would give you one good of advise: stay the hell out of Internet discussion groups. You will make less enemies this way, and those who judge you as a musician, will not be distracted by your off-the-wall politics. And in case you have not noticed this: none of the superstars of the lute ever post in this group. Not Hoppy, not Paul, not Ronn, not Toyohiko. And if performers sometimes do, they always discuss technical matters, not ideological ones. Consider this. Your future depend on it. Matanya Ophee Editions Orphe'e, Inc., 1240 Clubview Blvd. N. Columbus, OH 43235-1226 Phone: 614-846-9517 Fax: 614-846-9794 mailto:[EMAIL PROTECTED] http://www.orphee.com
Re: lute vs.guitar / how to convert the guitarist?
Vance wrote about Julian Bream: However this does not necessarily mean you have to cut your nails in order to play the Lute, you use have to use a proper technique. I know this can be done because this is what Julian Bream used to do, play the Guitar with nails and the Lute without, and this is in the same concert. I asked him about this after a performance I was privileged to attend many years ago. So it can be done. When was this? His lute recordings sounded nailish, if I recall correctly. I also recall he played with fairly short nails to begin with for a guitarist. Are you saying he filed the right side of the nail down like many people playing both lute and guitar do? How else can you play with nails on the guitar and without them on the lute? TIA -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/
