[BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700
Dear collegues, Thank you for your interest. For those interested I have attached to this mail, a pdf of the introduction so you can see what it is all about. Best whishes Robin Rolfhamre Siterer Luca l...@manassero.net: Dear Per Kjetil, the book looks very promising, but also very expensive! Maybe an excerpt could help amateurs invest USD 70 + shipping costs... Thanks, Luca On Nov 29, 2010, Per Kjetil Farstad pkfar...@online.no wrote: Dear lute list. May I recommend this informative book from the Swedish/Norwegian lute researcher Robin Rolfhamre: French baroque lute music from 1650-1700: A study of the art of playing the lute You find more infromation on amazonat this adress: [1]http://www.amazon.com/French-baroque-lute-music-1650-1700/dp/3639 308514/ref=sr_1_1?ie=UTF8s=booksqid89893630sr=1-1 Happy reading! Best regards from Per Kjetil Farstad References 1. http://www.amazon.com/French-baroque-lute-music-1650-1700/dp/3639308514/ref=sr_1_1?ie=UTF8s=booksqid89893630sr=1-1 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700
No attachments --- On Tue, 30/11/10, ro...@rolfhamre.com ro...@rolfhamre.com wrote: From: ro...@rolfhamre.com ro...@rolfhamre.com Subject: [BAROQUE-LUTE] Re: French Baroque Lute Music from 1650-1700 To: l...@manassero.net, tade...@mac.com Cc: baroque-lute@cs.dartmouth.edu Date: Tuesday, 30 November, 2010, 8:34 Dear collegues, Thank you for your interest. For those interested I have attached to this mail, a pdf of the introduction so you can see what it is all about. Best whishes Robin Rolfhamre Siterer Luca [1]l...@manassero.net: Dear Per Kjetil, the book looks very promising, but also very expensive! Maybe an excerpt could help amateurs invest USD 70 + shipping costs... Thanks, Luca On Nov 29, 2010, Per Kjetil Farstad [2]pkfar...@online.no wrote: Dear lute list. May I recommend this informative book from the Swedish/Norwegian lute researcher Robin Rolfhamre: French baroque lute music from 1650-1700: A study of the art of playing the lute You find more infromation on amazonat this adress: [1][3]http://www.amazon.com/French-baroque-lute-music-1650-1700/dp/3639 308514/ref=sr_1_1?ie=UTF8s=booksqid89893630sr=1-1 Happy reading! Best regards from Per Kjetil Farstad References 1. [4]http://www.amazon.com/French-baroque-lute-music-1650-1700/dp/3639308 514/ref=sr_1_1?ie=UTF8s=booksqid89893630sr=1-1 To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- -- References 1. http://uk.mc263.mail.yahoo.com/mc/compose?to=l...@manassero.net 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=pkfar...@online.no 3. http://www.amazon.com/French-baroque-lute-music-1650-1700/dp/3639 4. http://www.amazon.com/French-baroque-lute-music-1650-1700/dp/3639308514/ref=sr_1_1?ie=UTF8s=booksqid89893630sr=1-1 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Stephen Stubbs
Does anyone know Stephen Stubbs' email address? TIA Ed Durbrow Saitama, Japan [1]http://www9.plala.or.jp/edurbrow/ [2]http://www.musicianspage.com/musicians/9688/ -- References 1. http://www9.plala.or.jp/edurbrow/ 2. http://www.musicianspage.com/musicians/9688/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Stephen Stubbs
baroqueop...@aol.com he is also on FBook, but wouldn't condescend to my friending request, for some unknown reason. RT - Original Message - From: Ed Durbrow edurb...@sea.plala.or.jp To: LuteNet list lute@cs.dartmouth.edu Sent: Tuesday, November 30, 2010 8:59 AM Subject: [LUTE] Stephen Stubbs Does anyone know Stephen Stubbs' email address? TIA Ed Durbrow Saitama, Japan [1]http://www9.plala.or.jp/edurbrow/ [2]http://www.musicianspage.com/musicians/9688/ -- References 1. http://www9.plala.or.jp/edurbrow/ 2. http://www.musicianspage.com/musicians/9688/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Leycester's Commonplace book
Dear Rainer, Sorry to be slow replying. I have been away in Germany for a few days. Perhaps the most frustrating thing about Sir Peter Leycester, is the inventory of books in his library - all kinds of musical sources, both printed and manuscript, and nearly all of them now lost. The so-called Tabley lute book survives, and Robert Spencer had plans for Boethius/ Severinus Press to publish it in facsimile. Unfortunately Bob died before the project could be completed. As far as I know, there are three other surviving sources of interest to musicians: 1) DLT/B 31: Sir Peter Leycester's music book. I have a photocopy of this manuscript, which I bought from Chester Archives in 1980. It begins with a long history of music stretching back to biblical times, together with information about the viol. All this is similar to the sort of things in Mary Burwell's lute tutor. There follows a considerable amount of music in tablature for the lyra viol, and if I remember right, there are nine different tunings. 2) Manuscript DLT/18: A manuscript written by Sir Peter about music. I looked at this manuscript some time in 1980 when I visited the Chester Archives, but did not find much of interest. I copied a few items from this manuscript in pencil, but I can't guarantee my accuracy, because it was such a long time ago. This is what I copied: f.9. Josephus de Instrumentis musicis quae David laudandum dominum paravit, sic scribit libro septimo antiquitatum Iudaicum ca. 10 f. 9b. Isaacus Casaubonus in animadversionibus in Athenaeum Dip. Lib 8 12. Solentmusici et harmonici 15b. Hydraulis instrumentum musicum apud Graecos. f.16. Hen. Stephanus. Cithara Graece f.17. Frigonum refertum esse a Syris inquit Jubas lib 4. f.18. De instrumentis musicis quae in usu erant apud Antquos Graecos et Romanos. De Cithara. [none of the other instruments is given] -o-O-o- I must have given up at that point, there being nothing of interest specifically about lutes and viols. 3) DLT/B 33. When I visited the Chester Archives, I spent most of my time looking at this manuscript. (The viol book wasn't there.) I copied much of it, and my notes began: A Booke of miscellany Collections by mee P. Leycester. Anno Christi, 1656 Written for the use of my sonne Liber. S. P. num: g. [Tells son how to behave.] On money. Armories. Surnames: Esquires Knights Guns Of sneezinge. Wassaile. Cursue. Wakes Of Homer Of the compasse of the earthe The measure of a mile Measures etc. Zodiaque/ Astronomers Archimedes. Of Musicke Of the land of Nod Of the Heathen Gods. -o-O-o- I then copied what Peter Leycester had to say about music, from folio 72r to 90v. Mercifully he wrote in English. Perhaps of some interest to Lutenetters, is what Sir Peter writes about the cittern (fols 84v-85r): ffor the little Instrument called a Psittyrne, Anthony Holborne, and Tho: Robinson were most famous of any before them: and have both of them set out a Booke of Lessons for this Instrument: Holborne hath composed a Basse=parte for the viole to play unto the Psitterne with those Lessons set out in his booke: these lived about anno Do.^ni. 1600. This instrument is not so apt for the voyce as the Lute or Viole: but yeilds a sweete and gentle sound, w.^ch the name importeth: for 4 [4 letters in Greek = Psithera?] is a Greeke word, commeth of [more Greek letters], w.^ch signifyes a whisperinge sound: like to which is the sound of this Instrument: some write it citharen, but falsely: for psithyren, by contraction Psittyrne: It con=tayneth foure course of strings as at this day we use it: each course beinge doubled, havinge two stringes of one sound in each course: They are wire stringes: is a [?] played uppon with a little peice of a Quill or Pen, wherewith the stringes be touched: It is now us=ually taught by Letters, not by Notes of Musicke. -o-O-o- There is quite a bit more. The easiest thing to do would be for me to try scanning my pencilled notes, and send them to you off List. Wayne's robot would intercept attachments. Best wishes, Stewart. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of adS Sent: 23 November 2010 21:24 To: Lute net Subject: [LUTE] Leycester's Commonplace book Dear lute netters, does anbyody out there know (anything about) the Commonplace of Sir Philip Leycester, dated 1656? Rainer adS To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
[LUTE] Antonio de Cabezon - Fabordones del quinto tono
hi, I have uploaded a nice lute duet for 2 lutes ad Quartam. -Antonio de Cabezon - Fabordones del quinto tono-- Enjoy Anton To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] James Tyler
I am forwarding a note from Daniel Zuluaga chaconi...@gmail.com about plans for a web site in memory on James Tyler. Also we are planning to plublish something about him in the next Quarterly. Jocelyn Nelson is the person organizing this and if any of you want to contribute to that, you can contact her at nels...@ecu.edu Nancy We are in the process of setting up a memorial website for Jim, which may happen in the coming weeks. In the meantime, everyone can send their remembrances, anecdotes, contributions and any other notes of interest regarding Jim to the following email we set up: [1]rememberingjamesty...@gmail.com This will be the basic email from which we will process all notes to go to the memorial website, to be hosted as the USC servers. Obituaries are due this week in The Guardian, The Independent, and the LA Times. Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web sites - [2]www.nancycarlinassociates.com [3]www.groundsanddivisions.info Representing: FROM WALES - Crasdant Carreg Lafar, FROM ENGLAND - Jez Lowe Jez Lowe The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths Morrongiello Young Administrator THE LUTE SOCIETY OF AMERICA web site - [4]http://LuteSocietyofAmerica.org -- References 1. mailto:rememberingjamesty...@gmail.com 2. http://www.nancycarlinassociates.com/ 3. http://www.groundsanddivisions.info/ 4. http://lutesocietyofamerica.org/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
Snip If someone wants to play freely the beginning is ok, of course, but we have to think a little more about the music written by Francesco and in general about the writing and the performance practice of the counterpoint in the first half of the Sixteenth-century. Snip This is the absolute crux of the matter. The twin processes of trying to find the urtext combined with guessing the composer's intent have created a gigantic problem in renaissance music, which is the fabrication of versions which did not exist in 16th century. There is no correct version; there are versions: there is no uniformity, there is only diversity. And it is this rich, detailed, brilliant and kaleidoscopic diversity that reflects the player-composer culture of the superbly trained musicians of that time. For some reason, we only want multiple versions when there are no doodles. So we, as modernists often reject the plain, unornamented versions of music in favor of the ornamented ones. But we still, somehow, want the number of versions to be small. We want the right stuff. But in the renaissance, they wanted a variety of stuff. They wrote in the margins; they composed as they copied, the impressed their own personalities on everything. The greater the player, the more different the copy! And had they done anything else, the would have been regarded as color by number instead of Vermeer. As far as the rules of counterpoint, let's take an example by the best composer in the renaissance writing one of his best pieces: Mille Regretz of the incomparable Josquin des Prez. Time after time, the longa in the point of imitation is answered by a breve. And why is that? Because it allows the polyphony more than twice as many possibilities for the answering counterpoint. It also allows the cadences to both elide and evaporate: two essential qualities of counterpoint. When making a scholarly edition, let's just include a facsimile of each and every version, digitally. Total information; no paper wasted. Isn't that the best way? What could be better? Anything less is relegating the alternate versions to the scrap heap of history. And in the transcription, it should be possible, clearly and easily, with no reference to algebra musik, to reconstruct every note and mark of the original source. So here is the question, should we correct the works of Josquin? Because some of those notes are longer in one part. Maybe add a rest at the beginning? And make the perfect urtext? Or should we go back and say, hey, there are a lot of different versions of this piece, and you, the unique player-composer can pick the one you like the best, and, when making your personal intabulation, you get to add some notes and graces of your own. The choice is ours, as players and editors. That's the choice they made, as well. Respectfully, dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Karamazov
http://www.youtube.com/watch?v=BA2TbQrAHBY RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
When making a scholarly edition, let's just include a facsimile of each and every version, digitally. Total information; no paper wasted. Isn't that the best way? What could be better? Anything less is relegating the alternate versions to the scrap heap of history. And in the transcription, it should be possible, clearly and easily, with no reference to algebra musik, to reconstruct every note and mark of the original source. Ah, but what of unsigned versions which are not identical The Bernard Hudson edition of the works of Hayne presents some 21 tunes, 14 of which are attributed to Hayne on stylistic grounds. The remaining tunes either use Haynes text or are perhaps falsely attributed by unscrupulous publishers; most of them are easily attributed to other composers by style (Two in 4vv that sit well on crumhorn may be Binchois). All of the tunes were 'copied' by contemporary and subsequent composers, some of them many many times. This was a high complement in that time, much as good jazz themes are used today, so were these themes. Each copy is an opportunity for us to see how polyphony was ornamented. All provide challenge in resolving musica ficta. I am minded of the editions of Ogni Sorte, not only are they presented in original notation and parts as well as score, but also the editions focus on specific themes, eg, De tous biens plains, all 28 known versions by all composers. (See _De tous Biens Plaine_, Cynthia J Cyrus, A-R Editions). So here is the question, should we correct the works of Josquin? Because some of those notes are longer in one part. Maybe add a rest at the beginning? I would first look to printed editions such as Odhecaton and see how it was handled there; but recall that often an incipit maxima rest shows the mood and may be better considered part of the time signature. Further, never forget that printed editions relied heavily on the musical skills of the compositor(s); persons whose skill was challenged with every piece of backwards-facing type they placed in the rack. And make the perfect urtext? Or should we go back and say, hey, there are a lot of different versions of this piece, and you, the unique player-composer can pick the one you like the best, and, when making your personal intabulation, you get to add some notes and graces of your own. The choice is ours nay, not choice, but duty, we are expected to show our own art in every performance. Analysis is helpful, and so the 'perfect' urtext is welcome, but it should not be the only inspiration for any performance. Consider the various versions of baroqued beatles tunes, the PDQ Bach madrigals (oy-vay!). -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] James Tyler on wiki (not yet)
I note that our james Tyler is not (et0 in wiki, tho two other musical JT are listed in articles and a disambiguation entry. I lack sufficient data to make the initial entry myself, and hope someone involved with the proposed website would add this to the todo list. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
Snip I am minded of the editions of Ogni Sorte, not only are they presented in original notation and parts as well as score, but also the editions focus on specific themes, eg, De tous biens plains, all 28 known versions by all composers. (See _De tous Biens Plaine_, Cynthia J Cyrus, A-R Editions). Snip Ogni Sorte are great editions, but they aren't facsimiles. Tandernacken is my fave. Venus Bant, Fortuna also great. Snip So here is the question, should we correct the works of Josquin? Because some of those notes are longer in one part. Maybe add a rest at the beginning? I would first look to printed editions such as Odhecaton and see how it was handled there; but recall that often an incipit maxima rest shows the mood and may be better considered part of the time signature. Further, never forget that printed editions relied heavily on the musical skills of the compositor(s); persons whose skill was challenged with every piece of backwards-facing type they placed in the rack. Snip I picked a piece, Mille Regretz, that doesn't start on a rest, but is emblematic of the thousands of imitative pieces that start on a long note and are imitated further on in the piece by a short note. Looking at Odhecaton won't help here, at least in any way that I can see, but maybe I'm missing your idea here. No editor would shorten that first note (Mille Regretz). The point is, there is no rule, stylistically, contrapuntally, or otherwise to regularize imitation on the first note, unless Josquin, Isaac and everyone else is writing bad counterpoint. Reconciling the different sources is a separate matter. Even the lute and vihuela versions of Mille Regretz start on a long note; it is a standard way of starting a piece. I'm basically saying, Francesco is like Josquin. And, like most things, the sources differ. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
And don't play you Ogni Sorte on you Liuto Forte! dt At 06:25 PM 11/30/2010, you wrote: If the van Ghizeghem's rockin' don't come Tandernaken! On Nov 30, 2010, at 5:56 PM, David Tayler wrote: Snip I am minded of the editions of Ogni Sorte, not only are they presented in original notation and parts as well as score, but also the editions focus on specific themes, eg, De tous biens plains, all 28 known versions by all composers. (See _De tous Biens Plaine_, Cynthia J Cyrus, A-R Editions). Snip Ogni Sorte are great editions, but they aren't facsimiles. Tandernacken is my fave. Venus Bant, Fortuna also great. Snip So here is the question, should we correct the works of Josquin? Because some of those notes are longer in one part. Maybe add a rest at the beginning? I would first look to printed editions such as Odhecaton and see how it was handled there; but recall that often an incipit maxima rest shows the mood and may be better considered part of the time signature. Further, never forget that printed editions relied heavily on the musical skills of the compositor(s); persons whose skill was challenged with every piece of backwards-facing type they placed in the rack. Snip I picked a piece, Mille Regretz, that doesn't start on a rest, but is emblematic of the thousands of imitative pieces that start on a long note and are imitated further on in the piece by a short note. Looking at Odhecaton won't help here, at least in any way that I can see, but maybe I'm missing your idea here. No editor would shorten that first note (Mille Regretz). The point is, there is no rule, stylistically, contrapuntally, or otherwise to regularize imitation on the first note, unless Josquin, Isaac and everyone else is writing bad counterpoint. Reconciling the different sources is a separate matter. Even the lute and vihuela versions of Mille Regretz start on a long note; it is a standard way of starting a piece. I'm basically saying, Francesco is like Josquin. And, like most things, the sources differ. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Francesco da Milano - Ness 33
It may be that the Scotch is too good. Hey, I didn't invent the Liuto Forte, but there is one for sale on Wayne's list. dt The what? the who? Somebody needs to find you some better scotch. On Nov 30, 2010, at 6:32 PM, David Tayler wrote: And don't play you Ogni Sorte on you Liuto Forte! dt At 06:25 PM 11/30/2010, you wrote: If the van Ghizeghem's rockin' don't come Tandernaken! On Nov 30, 2010, at 5:56 PM, David Tayler wrote: Snip I am minded of the editions of Ogni Sorte, not only are they presented in original notation and parts as well as score, but also the editions focus on specific themes, eg, De tous biens plains, all 28 known versions by all composers. (See _De tous Biens Plaine_, Cynthia J Cyrus, A-R Editions). Snip Ogni Sorte are great editions, but they aren't facsimiles. Tandernacken is my fave. Venus Bant, Fortuna also great. Snip So here is the question, should we correct the works of Josquin? Because some of those notes are longer in one part. Maybe add a rest at the beginning? I would first look to printed editions such as Odhecaton and see how it was handled there; but recall that often an incipit maxima rest shows the mood and may be better considered part of the time signature. Further, never forget that printed editions relied heavily on the musical skills of the compositor(s); persons whose skill was challenged with every piece of backwards-facing type they placed in the rack. Snip I picked a piece, Mille Regretz, that doesn't start on a rest, but is emblematic of the thousands of imitative pieces that start on a long note and are imitated further on in the piece by a short note. Looking at Odhecaton won't help here, at least in any way that I can see, but maybe I'm missing your idea here. No editor would shorten that first note (Mille Regretz). The point is, there is no rule, stylistically, contrapuntally, or otherwise to regularize imitation on the first note, unless Josquin, Isaac and everyone else is writing bad counterpoint. Reconciling the different sources is a separate matter. Even the lute and vihuela versions of Mille Regretz start on a long note; it is a standard way of starting a piece. I'm basically saying, Francesco is like Josquin. And, like most things, the sources differ. dt To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: James Tyler
Thanks Nancy, I was checking the USC WEB site and was puzzled that there was no announcement... For those who may not know, Jim founded and developed a master's degree in early music performance there in the late 1980's. It's hard to tell from the WEB site if had retired or not, (they do have a link to a recording of the early music ensemble that seems current and seems to have some of his playing in it) but I think a lot of his energy in the past 20 years was devoted to this program and his students. It's been 22 years now, but I still have a wonderful memory of being invited to sit in as a guest student for a year. I hope many of his alumni will testify on that site of his goodness, generosity and talent. Alain On 11/30/2010 11:56 AM, Nancy Carlin wrote: I am forwarding a note from Daniel Zuluagachaconi...@gmail.com about plans for a web site in memory on James Tyler. Also we are planning to plublish something about him in the next Quarterly. Jocelyn Nelson is the person organizing this and if any of you want to contribute to that, you can contact her at nels...@ecu.edu Nancy We are in the process of setting up a memorial website for Jim, which may happen in the coming weeks. In the meantime, everyone can send their remembrances, anecdotes, contributions and any other notes of interest regarding Jim to the following email we set up: [1]rememberingjamesty...@gmail.com This will be the basic email from which we will process all notes to go to the memorial website, to be hosted as the USC servers. Obituaries are due this week in The Guardian, The Independent, and the LA Times. Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web sites - [2]www.nancycarlinassociates.com [3]www.groundsanddivisions.info Representing: FROM WALES - Crasdant Carreg Lafar, FROM ENGLAND - Jez Lowe Jez Lowe The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths Morrongiello Young Administrator THE LUTE SOCIETY OF AMERICA web site - [4]http://LuteSocietyofAmerica.org -- References 1. mailto:rememberingjamesty...@gmail.com 2. http://www.nancycarlinassociates.com/ 3. http://www.groundsanddivisions.info/ 4. http://lutesocietyofamerica.org/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: James Tyler
James had a long battle with diabetes, so it might be nice to set up something where people can contribute in his name. The Early Music program at USC is now run by Adam Gilbert, he might know if there is a memorial planned. There are some old phtos on LPs and booklets that I remember from the 70s and 80s, (and 60s, amazingly) if anyone has copies it would be nice to digitize them. There should be photos from his time with the New York Pro Musica, the Early Music Consort of London, the Consort of Musicke, and the Julian Bream Consort, to name but a few; there must be some BBC material as well. James was at Hartt Conservatory and studied for a while with my teacher, Joeseph Iadone, but I don't know much about his career in Southern California, except of course that he built up the very successful program there. Sadly, many who would have photos from that time have passed away as well. I'm sure Anthony Rooley would have a wealth of material from that time. dt Thanks Nancy, I was checking the USC WEB site and was puzzled that there was no announcement... For those who may not know, Jim founded and developed a master's degree in early music performance there in the late 1980's. It's hard to tell from the WEB site if had retired or not, (they do have a link to a recording of the early music ensemble that seems current and seems to have some of his playing in it) but I think a lot of his energy in the past 20 years was devoted to this program and his students. It's been 22 years now, but I still have a wonderful memory of being invited to sit in as a guest student for a year. I hope many of his alumni will testify on that site of his goodness, generosity and talent. Alain On 11/30/2010 11:56 AM, Nancy Carlin wrote: I am forwarding a note from Daniel Zuluagachaconi...@gmail.com about plans for a web site in memory on James Tyler. Also we are planning to plublish something about him in the next Quarterly. Jocelyn Nelson is the person organizing this and if any of you want to contribute to that, you can contact her at nels...@ecu.edu Nancy We are in the process of setting up a memorial website for Jim, which may happen in the coming weeks. In the meantime, everyone can send their remembrances, anecdotes, contributions and any other notes of interest regarding Jim to the following email we set up: [1]rememberingjamesty...@gmail.com This will be the basic email from which we will process all notes to go to the memorial website, to be hosted as the USC servers. Obituaries are due this week in The Guardian, The Independent, and the LA Times. Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web sites - [2]www.nancycarlinassociates.com [3]www.groundsanddivisions.info Representing: FROM WALES - Crasdant Carreg Lafar, FROM ENGLAND - Jez Lowe Jez Lowe The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths Morrongiello Young Administrator THE LUTE SOCIETY OF AMERICA web site - [4]http://LuteSocietyofAmerica.org -- References 1. mailto:rememberingjamesty...@gmail.com 2. http://www.nancycarlinassociates.com/ 3. http://www.groundsanddivisions.info/ 4. http://lutesocietyofamerica.org/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: James Tyler
Hello, list, I too was shocked to hear of James Tyler's death. Though his recordings were he a formative influence on me since the 1970's, I had never met him, but I recently had a wonderful exchange with him about another of his long interests (in his words): You expressed surprise at my interest in turn of the century fretted instrument music, but that has been a lifelong interest, despite the fact that my career has been mainly that of a lutenist. In the 1950s I studied classic banjo (gut-strung 5 string), tenor banjo and mandolin with Walter Kaye Bauer, who in turn studied with Giuseppe Pettini. So I guess you can say I have sort of a direct link to the turn of the century. My interests have always been classic ragtime (1890s-1912) and American popular and theater music. I had contacted him, unbeknownst, through ebay, where we had competed for a piece of mandolin and guitar music (he won), and he was kind enough to make me a copy. I was looking forward to a thoroughly enjoyable conversation and exchange of music with him, now sadly not to be completed. I think he would not mind me also sharing this: If you want to see a complete contrast to my lute playing activities, a friend recently put an old 1979 BBC television clip of me playing a 1927 novelty tenor banjo piece on Youtube. You might be quite amused. [1]http://www.youtube.com/watch?v=sZgCpx8BN78; Like many of you, I will miss my new friend. Best to all, and keep playing, Chris. Alain al...@signtracks.com 11/30/2010 10:01 PM Thanks Nancy, I was checking the USC WEB site and was puzzled that there was no announcement... For those who may not know, Jim founded and developed a master's degree in early music performance there in the late 1980's. It's hard to tell from the WEB site if had retired or not, (they do have a link to a recording of the early music ensemble that seems current and seems to have some of his playing in it) but I think a lot of his energy in the past 20 years was devoted to this program and his students. It's been 22 years now, but I still have a wonderful memory of being invited to sit in as a guest student for a year. I hope many of his alumni will testify on that site of his goodness, generosity and talent. Alain On 11/30/2010 11:56 AM, Nancy Carlin wrote: I am forwarding a note from Daniel Zuluagachaconi...@gmail.com about plans for a web site in memory on James Tyler. Also we are planning to plublish something about him in the next Quarterly. Jocelyn Nelson is the person organizing this and if any of you want to contribute to that, you can contact her at nels...@ecu.edu Nancy We are in the process of setting up a memorial website for Jim, which may happen in the coming weeks. In the meantime, everyone can send their remembrances, anecdotes, contributions and any other notes of interest regarding Jim to the following email we set up: [1]rememberingjamesty...@gmail.com This will be the basic email from which we will process all notes to go to the memorial website, to be hosted as the USC servers. Obituaries are due this week in The Guardian, The Independent, and the LA Times. Nancy Carlin Associates P.O. Box 6499 Concord, CA 94524 USA phone 925/686-5800 fax 925/680-2582 web sites - [2]www.nancycarlinassociates.com [3]www.groundsanddivisions.info Representing: FROM WALES - Crasdant Carreg Lafar, FROM ENGLAND - Jez Lowe Jez Lowe The Bad Pennies, and now representing EARLY MUSIC - The Venere Lute Quartet, The Good Pennyworths Morrongiello Young Administrator THE LUTE SOCIETY OF AMERICA web site - [4]http://LuteSocietyofAmerica.org -- References 1. mailto:rememberingjamesty...@gmail.com 2. [2]http://www.nancycarlinassociates.com/ 3. [3]http://www.groundsanddivisions.info/ 4. [4]http://lutesocietyofamerica.org/ To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.youtube.com/watch?v=sZgCpx8BN78 2. http://www.nancycarlinassociates.com/ 3. http://www.groundsanddivisions.info/ 4. http://lutesocietyofamerica.org/ 5. http://www.cs.dartmouth.edu/~wbc/lute
