[LUTE] Re: New on YT
Your best recording on my opinion, Val. Bravo! --- En date de : Ven 4.6.10, Valery Sauvage sauvag...@orange.fr a ecrit : De: Valery Sauvage sauvag...@orange.fr Objet: [LUTE] New on YT A: 'Lutelist' lute@cs.dartmouth.edu Date: Vendredi 4 juin 2010, 8h57 A new one on YT : [1][1]http://www.youtube.com/watch?v=c6NG2mLdv2o V. -- References 1. [2]http://www.youtube.com/watch?v=c6NG2mLdv2o To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.youtube.com/watch?v=c6NG2mLdv2o 2. http://www.youtube.com/watch?v=c6NG2mLdv2o 3. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: baroque mandolins - single/double courses experiment
Dear Susanne, I play two original six course instruments made by Ambrogio Maraffi recently restored. Maraffi was active in middle and second half of the XVIII century and he never made the old XVIIth century's 4 course mandolini with single top string which were not anymore in use and completely out of fashion by that time. Unfortunatly the instrument in Nurnberg hasn't got an original arrangement. Best regards, Davide - Original Message - From: Susanne Herre mandolinens...@web.de To: davide.rebuffa davide.rebu...@fastwebnet.it; Lute List lute@cs.dartmouth.edu Sent: Monday, June 07, 2010 8:40 AM Subject: [LUTE] Re: baroque mandolins - single/double courses experiment Dear Davide, So, you don't know of any surviving instrument of 4 double courses? There is this instrument by Marafi (MIR 873) which has 8 pegs but seem to have arranged like this: 1x1 3x2 1x1 Whether this is the original arrangement or not...? Kind regards, Susanne - Original Message - From: davide.rebuffa davide.rebu...@fastwebnet.it To: Lute List lute@cs.dartmouth.edu; Stuart Walsh s.wa...@ntlworld.com Sent: Sunday, June 06, 2010 7:37 PM Subject: [LUTE] Re: baroque mandolins - single/double courses experiment Sauli wrote for a 4 course mandolino with scordatura ( fouth course tuned a semitone higher, just like the first four courses of a lute) Surviving original 4 course mandolini have a single top string and all the others double. Davide - Original Message - From: Stuart Walsh s.wa...@ntlworld.com To: Lute List lute@cs.dartmouth.edu Sent: Sunday, June 06, 2010 4:41 PM Subject: [LUTE] Re: baroque mandolins - single/double courses experiment I sent this a while ago Here's a little example of single-stringing. It's an Alemande and Corrente by Filippo Sauli. Of course, the Sauli pieces are definitely for mandolino and mandolinos have double courses http://www.youtube.com/watch?v=oReJcAQIU04 And here is another little piece by Sauli on the same instrument, now with double courses (except for the top string). http://www.youtube.com/watch?v=HSxLtfVX5xY Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] A Draft Idea
Dear Collected Wisdom, I played a solo recital yesterday in a rather drafty medieval church in Champagne on a lute with loaded gut basses. Tuning was difficult but manageable, but nevertheless my experience got me wondering if anyone out there may have any advice with regards to how one may discern where the optimal performance place is with regards to drafts, i.e., how does one check for drafts in a concert space? Any advice would be most welcome! As ever, Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A Draft Idea
Playing such drafty venues on gut is a daft idea. Go with carbon. RT - Original Message - From: Benjamin Narvey luthi...@gmail.com To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, June 07, 2010 6:52 AM Subject: [LUTE] A Draft Idea Dear Collected Wisdom, I played a solo recital yesterday in a rather drafty medieval church in Champagne on a lute with loaded gut basses. Tuning was difficult but manageable, but nevertheless my experience got me wondering if anyone out there may have any advice with regards to how one may discern where the optimal performance place is with regards to drafts, i.e., how does one check for drafts in a concert space? Any advice would be most welcome! As ever, Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A Draft Idea
Oh Roman. Actually, it worked out all right tuning-wise: I didn't have to tune long, only often (about 3 times). On 7 June 2010 12:56, Roman Turovsky r.turov...@verizon.net wrote: Playing such drafty venues on gut is a daft idea. Go with carbon. RT - Original Message - From: Benjamin Narvey luthi...@gmail.com To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, June 07, 2010 6:52 AM Subject: [LUTE] A Draft Idea Dear Collected Wisdom, I played a solo recital yesterday in a rather drafty medieval church in Champagne on a lute with loaded gut basses. Tuning was difficult but manageable, but nevertheless my experience got me wondering if anyone out there may have any advice with regards to how one may discern where the optimal performance place is with regards to drafts, i.e., how does one check for drafts in a concert space? Any advice would be most welcome! As ever, Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com
[LUTE] Re: A Draft Idea
p.s. I will, however, be playing on nylgut synthetics when playing in NYC this autumn. I'll hope to see you there! On 7 June 2010 12:58, Benjamin Narvey luthi...@gmail.com wrote: Oh Roman. Actually, it worked out all right tuning-wise: I didn't have to tune long, only often (about 3 times). On 7 June 2010 12:56, Roman Turovsky r.turov...@verizon.net wrote: Playing such drafty venues on gut is a daft idea. Go with carbon. RT - Original Message - From: Benjamin Narvey luthi...@gmail.com To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, June 07, 2010 6:52 AM Subject: [LUTE] A Draft Idea Dear Collected Wisdom, I played a solo recital yesterday in a rather drafty medieval church in Champagne on a lute with loaded gut basses. Tuning was difficult but manageable, but nevertheless my experience got me wondering if anyone out there may have any advice with regards to how one may discern where the optimal performance place is with regards to drafts, i.e., how does one check for drafts in a concert space? Any advice would be most welcome! As ever, Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com
[LUTE] Re: A Draft Idea
Just recently I tuned up at the dress-rehearsal at noon, and I didn't have to tune 7hrs later for the actual concert. Long live carbon. RT - Original Message - From: Benjamin Narvey luthi...@gmail.com To: Roman Turovsky r.turov...@verizon.net Cc: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, June 07, 2010 6:58 AM Subject: [LUTE] Re: A Draft Idea Oh Roman. Actually, it worked out all right tuning-wise: I didn't have to tune long, only often (about 3 times). On 7 June 2010 12:56, Roman Turovsky r.turov...@verizon.net wrote: Playing such drafty venues on gut is a daft idea. Go with carbon. RT - Original Message - From: Benjamin Narvey luthi...@gmail.com To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, June 07, 2010 6:52 AM Subject: [LUTE] A Draft Idea Dear Collected Wisdom, I played a solo recital yesterday in a rather drafty medieval church in Champagne on a lute with loaded gut basses. Tuning was difficult but manageable, but nevertheless my experience got me wondering if anyone out there may have any advice with regards to how one may discern where the optimal performance place is with regards to drafts, i.e., how does one check for drafts in a concert space? Any advice would be most welcome! As ever, Benjamin -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com
[LUTE] Re: A Draft Idea
Dear Benjamin, you could light a church candle and the flame will give you some indication of a draught and its direction. Alternatively, you could light incense either in a thurible or as a taper and watch the resulting smoke. Decorative ribbon could also be used, if it is light enough. Lastly, a small, helium-filled,balloon tied to a piece of cotton thread could be a fourth method best of luck Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: A Draft Idea
Ask a silly question (-; On 7 June 2010 16:21, Charles Browne char...@brownecowie.fsnet.co.uk wrote: Dear Benjamin, you could light a church candle and the flame will give you some indication of a draught and its direction. Alternatively, you could light incense either in a thurible or as a taper and watch the resulting smoke. Decorative ribbon could also be used, if it is light enough. Lastly, a small, helium-filled,balloon tied to a piece of cotton thread could be a fourth method best of luck Charles To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com
[LUTE] Versailles and the 24 Violons du Roi
Dear Luters, I thought I'd give a heads up about the following event I'm helping to organise later this month, in case any of you may be in London 21-5 June. I'm giving a short introductory paper, and playing in the final concert too. Best wishes, Benjamin -- Forwarded message -- From: Benjamin Narvey luthi...@gmail.com Date: 7 June 2010 18:49 Subject: CONF: Versailles and the 24 Violons du Roi To: American Musicological Society am...@listserv.indiana.edu Dear Colleagues, It is my pleasure to announce to you a week of conferences, masterclasses, and performance at the Royal College of Music (London) centred around the 24 violons du roi, the most important orchestra of the seventeenth century. As part of the Musique de la Chambre du roi, its distinctive five-part texture pervaded many manifestations of musical life at the French court, such as incidental music, ballet, and opera; as the first truly professional orchestra, it revolutionised ensemble playing throughout the whole of Europe. The Centre de musique baroque de Versailles (CMBV) has recently commissioned fourteen instruments corresponding to the hautes-contres, tailles, and quintes of the 24 violons, with an aim to eventually recreating the entire orchestra. This unprecedented project is serving to greatly broaden our understanding of so much French baroque repertoire from both musicological and a practical points of view. This joint event between the Royal College of Music, the Institute of Musical Research and the CMBV - undertaken with support from Cultures France and the French Embassy to the United Kingdom - aims to share these instruments with British players, scholars, and audiences. Please find below the programme. Yours truly, Benjamin Narvey Versailles and the 24 Violons du Roi 21 - 25 June 2010 Royal College of Music, Prince Consort Road, London SW7 2BS In a stunning coup for the Royal College of Music, our Historical Performance team led by Ashley Solomon are delighted to present the first appearance in 250 years of some very special instruments. Founded in 1626 under Louis XIII, and directed by Lully among others, the King's 24 Strings (six violins, twelve violas, six bass violins) is often described as the world's first orchestra. Virtually all of the original instruments have been lost. However they have now been recreated by leading luthiers Antoine Laulhère and Giovanna Chitto. MONDAY 21 JUNE 11.00 Ashley Solomon, introduction and welcome 11.15 - 12.15 Antoine Laulhere Giovanna Chitto - the luthiers responsible for the instruments 12.30 - 13.20 The violin at the French royal court (1581-1725): dance, drama and ceremonial. Peter Bennett (Assistant Prof Case Western Reserve) 15.00 - 18.00 Open orchestra rehearsal with 24 violons du roi, Patrick Cohen-Akénine TUESDAY 22 JUNE 10.00 - 13.00 Chamber music workshop, Patrick Cohen-Akénine 15.00 - 18.00 Open orchestral rehearsal, Ingrid Seifert WEDNESDAY 23 JUNE 10.30 - 13.30 Chamber music workshop, Ingrid Seifert 14.00 - 14.30 An Introduction to the 24 Violons du Roi Benjamin Narvey (Institute of Musical Research) 14.30 - 15.30 The Band of Violins at the Court of Charles IX in France Ben Hebbert (University of Oxford) 15.30 - 16.30 Lully and Before: the creation of the French Orchestra, Dr Peter Holman 17.30 - 20.30 Open orchestral rehearsal, Sir Roger Norrington THURSDAY 24 JUNE 10.30 - 13.30 Open orchestral rehearsal, Sir Roger Norrington 15.00 - 18.00 Open orchestral rehearsal, Sir Roger Norrington FRIDAY 25 JUNE 10.00 - 11.00 Gut strings in Transition: Tradition and Experimentation at the Court of Louis XIV, Oliver Webber 11.00 - 13.00 Baroque dance workshop, Kay Norrington 14.00 - 17.00 Open orchestral rehearsal, Sir Roger Norrington 18.00 Concert - Amaryllis Fleming Concert Hall Sir Roger Norrington, director Friday's concert presents the first performance to feature all twelve violas and an opportunity to hear the rich inner voices that gave the orchestra its unique sound. The concert includes orchestral music as well as smaller chamber groups, enabling audiences to hear these incredible instruments in detail. Repertoire comprises 17th and 18th century music written for the orchestra, using brand new editions being produced from original manuscripts held at Versailles. Admission to all events (apart from the final concert) is free of charge, and no ticket is required. Concert tickets £5 (Stalls), £8 (balcony) RCM Box Office 020 7591 4314 Weekdays 10.00am - 4.00pm or book online at www.boxoffice.rcm.ac.uk -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com luthi...@gmail.com -- Dr Benjamin A.
[BAROQUE-LUTE] Versailles and the 24 Violons du Roi
Dear Luters, I thought I'd give a heads up about the following event I'm helping to organise later this month, in case any of you may be in London 21-5 June. I'm giving a short introductory paper, and playing in the final concert too. Best wishes, Benjamin -- Forwarded message -- From: Benjamin Narvey luthi...@gmail.com Date: 7 June 2010 18:49 Subject: CONF: Versailles and the 24 Violons du Roi To: American Musicological Society am...@listserv.indiana.edu Dear Colleagues, It is my pleasure to announce to you a week of conferences, masterclasses, and performance at the Royal College of Music (London) centred around the 24 violons du roi, the most important orchestra of the seventeenth century. As part of the Musique de la Chambre du roi, its distinctive five-part texture pervaded many manifestations of musical life at the French court, such as incidental music, ballet, and opera; as the first truly professional orchestra, it revolutionised ensemble playing throughout the whole of Europe. The Centre de musique baroque de Versailles (CMBV) has recently commissioned fourteen instruments corresponding to the hautes-contres, tailles, and quintes of the 24 violons, with an aim to eventually recreating the entire orchestra. This unprecedented project is serving to greatly broaden our understanding of so much French baroque repertoire from both musicological and a practical points of view. This joint event between the Royal College of Music, the Institute of Musical Research and the CMBV - undertaken with support from Cultures France and the French Embassy to the United Kingdom - aims to share these instruments with British players, scholars, and audiences. Please find below the programme. Yours truly, Benjamin Narvey Versailles and the 24 Violons du Roi 21 - 25 June 2010 Royal College of Music, Prince Consort Road, London SW7 2BS In a stunning coup for the Royal College of Music, our Historical Performance team led by Ashley Solomon are delighted to present the first appearance in 250 years of some very special instruments. Founded in 1626 under Louis XIII, and directed by Lully among others, the King's 24 Strings (six violins, twelve violas, six bass violins) is often described as the world's first orchestra. Virtually all of the original instruments have been lost. However they have now been recreated by leading luthiers Antoine Laulhère and Giovanna Chitto. MONDAY 21 JUNE 11.00 Ashley Solomon, introduction and welcome 11.15 - 12.15 Antoine Laulhere Giovanna Chitto - the luthiers responsible for the instruments 12.30 - 13.20 The violin at the French royal court (1581-1725): dance, drama and ceremonial. Peter Bennett (Assistant Prof Case Western Reserve) 15.00 - 18.00 Open orchestra rehearsal with 24 violons du roi, Patrick Cohen-Akénine TUESDAY 22 JUNE 10.00 - 13.00 Chamber music workshop, Patrick Cohen-Akénine 15.00 - 18.00 Open orchestral rehearsal, Ingrid Seifert WEDNESDAY 23 JUNE 10.30 - 13.30 Chamber music workshop, Ingrid Seifert 14.00 - 14.30 An Introduction to the 24 Violons du Roi Benjamin Narvey (Institute of Musical Research) 14.30 - 15.30 The Band of Violins at the Court of Charles IX in France Ben Hebbert (University of Oxford) 15.30 - 16.30 Lully and Before: the creation of the French Orchestra, Dr Peter Holman 17.30 - 20.30 Open orchestral rehearsal, Sir Roger Norrington THURSDAY 24 JUNE 10.30 - 13.30 Open orchestral rehearsal, Sir Roger Norrington 15.00 - 18.00 Open orchestral rehearsal, Sir Roger Norrington FRIDAY 25 JUNE 10.00 - 11.00 Gut strings in Transition: Tradition and Experimentation at the Court of Louis XIV, Oliver Webber 11.00 - 13.00 Baroque dance workshop, Kay Norrington 14.00 - 17.00 Open orchestral rehearsal, Sir Roger Norrington 18.00 Concert - Amaryllis Fleming Concert Hall Sir Roger Norrington, director Friday's concert presents the first performance to feature all twelve violas and an opportunity to hear the rich inner voices that gave the orchestra its unique sound. The concert includes orchestral music as well as smaller chamber groups, enabling audiences to hear these incredible instruments in detail. Repertoire comprises 17th and 18th century music written for the orchestra, using brand new editions being produced from original manuscripts held at Versailles. Admission to all events (apart from the final concert) is free of charge, and no ticket is required. Concert tickets £5 (Stalls), £8 (balcony) RCM Box Office 020 7591 4314 Weekdays 10.00am - 4.00pm or book online at www.boxoffice.rcm.ac.uk -- Dr Benjamin A. Narvey Institute of Musical Research School of Advanced Study University of London t +33 (0) 1 44 27 03 44 p/m +33 (0) 6 71 79 98 98 Site web/Website: www.luthiste.com luthi...@gmail.com -- Dr Benjamin A.
[LUTE] Re: A Draft Idea
Just recently I tuned up at the dress-rehearsal at noon, and I didn't have to tune 7hrs later for the actual concert. Long live carbon. RT Hear hear, here! I just had a gig that would have been lute tuning hell (St. Mark's Lutheran, San Francisco) if my archlute had been dressed in gut for the occasion. Worst type gig for solo playing; individual pieces played singly at approx. 10 - 15 minute intervals (no warm-up pieces continuity) to add color/variety to an acappella motet concert. No place/time to tune or warm up before hand either; just bang jump up, and I'm on. Between my solos, the lute rested on two chairs directly in front of an air conditioning outlet only partially blocked. I did not have to touch a single peg. This is the instrument that in a previous thread I described as having nylon, carbon, and copper overspuns; and still sounds gorgeous. Another victory for Carbons in Combat was a concert a few years ago where Jacob Lindberg played continuo on a carbonated theorbo; the two gambists could barely get their viols in tune in that drafty venue; much less keep them tuned for more than 8 measures at a time. Jacob sat cool as a cucumber, patiently waiting for them as often as necessary. His pegs also could have been mere decoration as far as his need to adjust anything on this occasion. Rather than flammables indoor weather balloons, a few pin feathers filched from the down comforter or pillow and attached to the end of your furthest pegbox will always show you which way the wind is blowing. And a small compass inlaid on the back of the neck at about the 8th fret should complete the set-up. A side benefit- you will not stay lost in even the largest cathedral. Is a combo tuner with GPS not far behind? Dan PS- we will be doing one more performance of this program: 3:30 p.m. Saturday June 12, St. Mark's Episcopal Church, 2300 Bancroft Way, Berkeley Ca. Mostly Motets in Concert - including works by Dufay, Josquin, Tallis, Byrd, Victoria, Marco dall'Aquila, Fuenllana, Palestrina, Francesco da Milano, Durufle among others. I played a solo recital yesterday in a rather drafty medieval church in Champagne on a lute with loaded gut basses. Tuning was difficult but manageable, but nevertheless my experience got me wondering if anyone out there may have any advice with regards to how one may discern where the optimal performance place is with regards to drafts, i.e., how does one check for drafts in a concert space? Any advice would be most welcome! As ever, Benjamin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Carbon strings?
Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Carbon strings?
The company that used to make it (and I presume they still do) is in Japan, and called, Seaguar. At 03:31 PM 6/7/2010, wikla wrote: Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 http://www.facebook.com/profile.php?id=1660298871ref=name http://www.myspace.com/edslute
[LUTE] the Euphora Consort at the Berkeley Early Music Festival
The newly formed Euphora Consort (directed by Amy White Dominic Schaner) will present two concerts at the Berkeley Early Music Festival [1]http://www.sfems.org/fringelist10.shtml#euphora Thursday June 10, 2 pm Loper Chapel, Berkeley ~A Glosa: Virtuosic Embellishment Florid Ornamentation of the Late Renaissance Sunday June 13, 7 pm Trinity Chapel, Berkeley ~A Avila: Musicians Mystics of Sixteenth Century Spain Glosa: Virtuosic Embellishment Florid Ornamentation of the Late Renaissance Thursday June 10, 2 pm /A Loper Chapela@ First Congregational Church of Berkeley /A Tickets: $15 general, $10 students seniors Amy White, soprano ~ Andrew Levy, recorder ~ Shirley Hunt, viola da gamba ~ Dominic Schaner, lute Glosa explores the art of the virtuoso during the late sixteenth and early seventeenth centuries.A Using the many treatises on ornamentation and division published during this time, and the numerous examples of florid embellishment found in manuscript sources, Glosa uncovers the secret art and presents the unrestrained music of the true Renaissance virtuoso, in endlessly florid versions of the most popular music of the time. Avila: Musicians Mystics of Sixteenth Century Spain Sunday June 13, 7 pm /A Trinity Chapel [2]http://www.trinitychamberconcerts.comA /A Tickets: $15 general, $10 students seniors Amy White, soprano ~ Dominic Schaner, lute ~ Peter Maund, percussion Avila explores the lives, music, and poetry of the great sixteenth century Spanish musicians and mystics. Using the vihuela books of the mid-sixteenth century as its musical source, and Saint Teresa of Avila Saint John of the Cross as its mystical inspiration, Avila presents the music of Spain's Golden Age. Springing forth from the confluence of these two great Catholic mystics, Avila features sacred and secular music from both printed and manuscript sources, bilingual meditations from the mystical writings of Teresa of Avila John of the Cross, and newly composed works inspired by their mystical visions. Please forward this email to anyone who may be interested, and remember to tell your family and friends in the area! A We hope to see you at one of our upcoming concerts! peace, Dominic Amy -- References 1. http://www.sfems.org/fringelist10.shtml#euphora 2. http://www.trinitychamberconcerts.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] And another question about nylguts (was: Carbon strings?)
And still about synhetics: David T. (dt) wrote here lately that Mimmo's nylgut strings have some overtone problems, some uneven(?) behaviour. Is that something that is generally noticed or found? Or was that only dt's private feeling? Mimmo, do you have any idea about dt's comments of this? Arto PS Planning to order more gut strings... A new world to me... Quite different, quite wonderful... ;) And complicated and worrying... On Mon, 07 Jun 2010 23:31:23 +0300, wikla wi...@cs.helsinki.fi wrote: Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Carbon strings?
Dear Arto, according to Makoto Tsuruta and his intuitive site [1]http://www.crane.gr.jp/CRANE_Strings/strings_linesE.html it's the same material. As I am living on an island, it is quite easy at least for me to find fishing line. Regardless your place of residence there are many on-line shops where you could order it from. A 25 m spool Seaguar Grand Max fishing line 0.405mm diameter costs around 10 euros. That spool could give you 3 dozens of strings for a g-lute, not a bad business at all! Stathis __ From: wikla wi...@cs.helsinki.fi To: lute@cs.dartmouth.edu Sent: Mon, June 7, 2010 11:31:23 PM Subject: [LUTE] Carbon strings? Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html -- References 1. http://www.crane.gr.jp/CRANE_Strings/strings_linesE.html 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: And another question about nylguts (was: Carbon strings?)
Arto, No problems with nylgut at all. Recently I was playing in Caccini's opera. No time to tune - playing all the time. At least not for the theorbist, only strings tuning their guts frequently, harpsichord during the interval (I had 2 minutes when he finished), but everything in tune. You just have to compromise when to put them on. Best Jaroslaw W dniu 2010-06-07 21:53, wikla pisze: And still about synhetics: David T. (dt) wrote here lately that Mimmo's nylgut strings have some overtone problems, some uneven(?) behaviour. Is that something that is generally noticed or found? Or was that only dt's private feeling? Mimmo, do you have any idea about dt's comments of this? Arto PS Planning to order more gut strings... A new world to me... Quite different, quite wonderful... ;) And complicated and worrying... On Mon, 07 Jun 2010 23:31:23 +0300, wiklawi...@cs.helsinki.fi wrote: Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: And another question about nylguts (was: Carbon strings?)
Yep Jaroslaw, no tuning problems with nylguts! Easily in tune also here... But that was not the question. It was about dt's claim about the overtones behaving stranglely in nylgut. Any other player found anything like that? Any laboratory measurements? Just interesting, not important... Nylgut sounds nice to me - as any synthetics - actually feel better to the fingers... ;) Arto On Mon, 07 Jun 2010 22:14:22 +0100, Jarosław Lipski jaroslawlip...@wp.pl wrote: Arto, No problems with nylgut at all. Recently I was playing in Caccini's opera. No time to tune - playing all the time. At least not for the theorbist, only strings tuning their guts frequently, harpsichord during the interval (I had 2 minutes when he finished), but everything in tune. You just have to compromise when to put them on. Best Jaroslaw W dniu 2010-06-07 21:53, wikla pisze: And still about synhetics: David T. (dt) wrote here lately that Mimmo's nylgut strings have some overtone problems, some uneven(?) behaviour. Is that something that is generally noticed or found? Or was that only dt's private feeling? Mimmo, do you have any idea about dt's comments of this? Arto PS Planning to order more gut strings... A new world to me... Quite different, quite wonderful... ;) And complicated and worrying... On Mon, 07 Jun 2010 23:31:23 +0300, wiklawi...@cs.helsinki.fi wrote: Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: And another question about nylguts (was: Carbon strings?)
Arto, I don't have any gear to measure it, but it sounds true to my ears. Aren't our ears what really counts? Jaroslaw W dniu 2010-06-07 22:45, wikla pisze: Yep Jaroslaw, no tuning problems with nylguts! Easily in tune also here... But that was not the question. It was about dt's claim about the overtones behaving stranglely in nylgut. Any other player found anything like that? Any laboratory measurements? Just interesting, not important... Nylgut sounds nice to me - as any synthetics - actually feel better to the fingers... ;) Arto On Mon, 07 Jun 2010 22:14:22 +0100, Jarosław Lipski jaroslawlip...@wp.pl wrote: Arto, No problems with nylgut at all. Recently I was playing in Caccini's opera. No time to tune - playing all the time. At least not for the theorbist, only strings tuning their guts frequently, harpsichord during the interval (I had 2 minutes when he finished), but everything in tune. You just have to compromise when to put them on. Best Jaroslaw W dniu 2010-06-07 21:53, wikla pisze: And still about synhetics: David T. (dt) wrote here lately that Mimmo's nylgut strings have some overtone problems, some uneven(?) behaviour. Is that something that is generally noticed or found? Or was that only dt's private feeling? Mimmo, do you have any idea about dt's comments of this? Arto PS Planning to order more gut strings... A new world to me... Quite different, quite wonderful... ;) And complicated and worrying... On Mon, 07 Jun 2010 23:31:23 +0300, wiklawi...@cs.helsinki.fi wrote: Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Carbon strings?
Not all fluorocarbon fishing lines make good strings. I've had pretty poor luck with Berkley's house brand of fluorocarbon fishing line. Under continuous tension (e.g., as an instrument string), I have found it to fray and lose intonation along its length. I've had much better luck with P-Line CFX flourocarbon fly fishing leader material. It's much more expensive than large spools of line, but still much less expensive than an equivalent length of gut string. Most of the fluorocarbon made for fishing you'll find will be ca. 0.5 mm or thinner. Best, Eugene -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of Stathis Skandalidis Sent: Monday, June 07, 2010 5:04 PM To: lute@cs.dartmouth.edu Subject: [LUTE] Re: Carbon strings? Dear Arto, according to Makoto Tsuruta and his intuitive site [1]http://www.crane.gr.jp/CRANE_Strings/strings_linesE.html it's the same material. As I am living on an island, it is quite easy at least for me to find fishing line. Regardless your place of residence there are many on-line shops where you could order it from. A 25 m spool Seaguar Grand Max fishing line 0.405mm diameter costs around 10 euros. That spool could give you 3 dozens of strings for a g-lute, not a bad business at all! Stathis __ From: wikla wi...@cs.helsinki.fi To: lute@cs.dartmouth.edu Sent: Mon, June 7, 2010 11:31:23 PM Subject: [LUTE] Carbon strings? Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html -- References 1. http://www.crane.gr.jp/CRANE_Strings/strings_linesE.html 2. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Re: And another question about nylguts (was: Carbon strings?)
Arto, I've noticed that the overtones of nylgut are not as consistent as other synthetic materials. Maybe this is because of the textured surface. But isn't that the point? I thought this was purposely done in order to mimic the naturally occurring irregularities of gut. Having said that, there is nothing at all wrong with this. Generally speaking, the more prevalent the overtones,, the more character a tone has. This was the whole reason for neck extensions; a long bass string prominently exposes the second overtone (12th or 5th) which makes for a brassy tone that can easily cut through an ensemble. Chris Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Mon, 6/7/10, wikla wi...@cs.helsinki.fi wrote: From: wikla wi...@cs.helsinki.fi Subject: [LUTE] Re: And another question about nylguts (was: Carbon strings?) To: Jarosław Lipski jaroslawlip...@wp.pl Cc: lute@cs.dartmouth.edu Date: Monday, June 7, 2010, 5:45 PM Yep Jaroslaw, no tuning problems with nylguts! Easily in tune also here... But that was not the question. It was about dt's claim about the overtones behaving stranglely in nylgut. Any other player found anything like that? Any laboratory measurements? Just interesting, not important... Nylgut sounds nice to me - as any synthetics - actually feel better to the fingers... ;) Arto On Mon, 07 Jun 2010 22:14:22 +0100, Jarosław Lipski jaroslawlip...@wp.pl wrote: Arto, No problems with nylgut at all. Recently I was playing in Caccini's opera. No time to tune - playing all the time. At least not for the theorbist, only strings tuning their guts frequently, harpsichord during the interval (I had 2 minutes when he finished), but everything in tune. You just have to compromise when to put them on. Best Jaroslaw W dniu 2010-06-07 21:53, wikla pisze: And still about synhetics: David T. (dt) wrote here lately that Mimmo's nylgut strings have some overtone problems, some uneven(?) behaviour. Is that something that is generally noticed or found? Or was that only dt's private feeling? Mimmo, do you have any idea about dt's comments of this? Arto PS Planning to order more gut strings... A new world to me... Quite different, quite wonderful... ;) And complicated and worrying... On Mon, 07 Jun 2010 23:31:23 +0300, wiklawi...@cs.helsinki.fi wrote: Dearest lute gang, one question about the carbon string material (=high density hydrocarbon polymer): I have been using it much, but I have always ordered it from lute string makers. But as far as I know, this material was developed for a non lute world (fishing?). So, does anyone here really know, if the lute string carbon and the fishing line carbon are the same thing and the same quality? If yes, please let me know, where to get this quality fishing carbon? I guess the fishers order their stuff in 100's of meters, and to me a couple of meters is the maximum per one string. In the fisher's way, those unpackaged strings could be _very_ economical to us lutenists? Arto To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
