[BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss?
Dear Grzegorz, it might be possible, that there are other portraits/engravings of Weiss, but we don't know. Hoffmann wrote about the engraving of Weiss, that was published as frontispiz in the Bibliothek ... and he writes about an engraving by Folin on a portrait of Denner. As the engraving by Folin/Denner is included in the Bibliothek these seem to be the same. But: It is true, that we cannot be sure, if there is another engraving, that shows another cut-off of the engraving. Possible, but a little bit of fiction also, as we don't know at the moment any engraving of Weiss that is different from the Bibliothek-engraving. And in my eyes Hoffmann doesn't seem to be a good witness for this. Other documents that speak of another portrait of Weiss I don't know. Another thing is, that we have a picture of the young Johann Sigismund Weiss in /Le portrait du vrai mérite dans la personne serenissime de Monseigneur L'Electeur Palatin by /Giorgio Maria/Rapparini/. And I also found in Gerber, that there was once a portrait in pastel of Adolf Faustinus Weiss, the son of S.L.Weiss, in the library of Hiller. Best regards Markus Am 11.07.2011 01:05, schrieb Grzegorz Joachimiak: Dear Bernhard and Markus, I would like to add that I searched also others engraving portraits of Weiss by Folino. I think that very interesting things are so-called independent engraving (not included in Neue Bibliothek der schönen Wissenschaften ..., Vol. 1, 1765). These informations wrote in Singer's catalogue (H. W. Singer, Allgemeiner Bildniskatalog, Leipzig 1934, no. 95597). One copy was/is (?) in Vienna National Library, two copies were/are in Dresden, one copy was in Breslau/Wroclaw-Stadtbibliothek Breslau (now in Wroclaw University Library) and one (no mentioned by Singer) is in Paris National Library. Probably an engraving from Stadtbibliothek Breslau is actually in Ossolinski National Institute, Department of Prints (Graphic). Look at http://www2.oss.wroc.pl/index.php/english/ (there are only my presumption based on the same possessor's name who had collection of engravings from Stadtbibliothek Breslau. Engraving preserved in Ossolineum contains in paper no provenance sign, so I can not be sure). These engravings were obtained and than sold after 2nd World War by Mr. Zdzislaw Szczyglowski from Raciborz (germ. Ratibor). Department of Prints (Graphic) in Wroclaw University Library also bought graphics in auction from Mr. Szczyglowski from Raciborz so I thought that probably there was the same person who sold in auction independent engraving with Weiss's portrait to Ossolineum. Actually in Wroclaw University Library we could find only index card connected of engraving with Weiss's portrait from Stadtbibliothek Breslau. I wrote short article about these things (cf. semi-annual Polish magazine about baroque history, literature, art: Barok 17 (2010) no. 2, pp. 97-105: http://www.neriton.apnet.pl/product_info.php?cPath=47products_id=643 ). In Ossolinski National Institute I found others engraving by Folino. In Warsaw Gallery called Na Tlumackiem existed among others things two portraits of musicians by Denner: J. A. Hasse and G. F. Haendel. Unfortunately this gallery actually is not exist and we do not know where is this collection now (A. Ryszkiewicz, Kolekcjonerzy i milosnicy, Warszawa 1981). By Folino in Ossolinski National Institute, Department of Prints in Wroclaw (Ossolineum) I found also similar manner of Folino's engraving technique like portrait of Weiss: e.g. portrait of Stanislaw August with Ciolek coat of arms, bust of Adam Naruszewicz and Maciej Kazimierz Sarbiewski (follow by medallion from 1770). Best wishes Grzegorz Dnia 10-07-2011 o godz. 22:04 Markus Lutz napisał(a): Dear Bernhard, no there isn't any further portrait of Weiss, only the picture by Denner and the engraving of this portrait. It's true, that Hoffmann writes about three, but the engraving in the Neue Bibliothek der schönen Wissenschaften ..., Vol. 1, 1765, is the engraving by Folin! So he is wrong. On the following site you will find a digital copy of the complete volume: http://scout.ub.uni-potsdam.de/fea/digbib/view?did=c1:209p=1 But the quality of the copy, especially of the engraving is very poor. Also on http://www.tabulatura.com you will find a better copy of it. Kenneth Sparr writes there: Silvius Leopold Weiss. Copper engraving [1765] by Bartolomeo Folino [1730-after 1808] , after a painting (c. 1740), now lost, by Balthasar Denner [1685-1749]. This engraving (a copy of which is in the author's collection) was included in the first volume of Neuen Bibliothek der schönen Wissenschaften und freyen Künste, Leipzig 1765. The reasons for dating the original painting to c. 1740 is that it shows Weiss in his mature years and that Denner in 1740 also portrayed Johann Adolf Hasse, who was the leader of the court orchestra at Dresden. It is hardly likely that the engraving was made before 1750 as Weiss died
[BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss?
Good point Rob, but, if we're thinking of one of the pictures, I recall it seems to show a large lute with a single neck. Whilst this could, of course, be the engraver's own fancy it might suggest the performer is playing a gallichon (large continuo type).. Martyn --- On Mon, 11/7/11, Rob MacKillop robmackil...@gmail.com wrote: From: Rob MacKillop robmackil...@gmail.com Subject: [BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss? To: mar...@gmlutz.de Cc: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu Date: Monday, 11 July, 2011, 9:33 I am well out of my depth here, so apologies, but are there not also a couple of paintings or engravings which might show Weiss at work? One is an opera setting, with a possible Weiss in the orchestral pit? The other is a small ensemble gathering, with a possible Weiss playing a long German theorbo (i.e. not a theorbo-lute)? Not exactly 'portraits', but worth mentioning, maybe? Rob MacKillop -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss?
Interesting point, Martyn. I don't have the picture to hand. How many strings or tuning pegs are shown? I still think the four-string gallichon of circa 90cms length would make a great baroque bass instrument. It's not an instrument I've ever seen associated with Weiss, but that means little. Rob On 11 July 2011 09:52, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote: Good point Rob, but, if we're thinking of one of the pictures, I recall it seems to show a large lute with a single neck. Whilst this could, of course, be the engraver's own fancy it might suggest the performer is playing a gallichon (large continuo type).. Martyn --- On Mon, 11/7/11, Rob MacKillop [2]robmackil...@gmail.com wrote: From: Rob MacKillop [3]robmackil...@gmail.com Subject: [BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss? To: [4]mar...@gmlutz.de Cc: BAROQUE-LUTE [5]baroque-lute@cs.dartmouth.edu Date: Monday, 11 July, 2011, 9:33 I am well out of my depth here, so apologies, but are there not also a couple of paintings or engravings which might show Weiss at work? One is an opera setting, with a possible Weiss in the orchestral pit? The other is a small ensemble gathering, with a possible Weiss playing a long German theorbo (i.e. not a theorbo-lute)? Not exactly 'portraits', but worth mentioning, maybe? Rob MacKillop -- To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:hodgsonmar...@yahoo.co.uk 2. mailto:robmackil...@gmail.com 3. mailto:robmackil...@gmail.com 4. mailto:mar...@gmlutz.de 5. mailto:baroque-lute@cs.dartmouth.edu 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss?
If my memory isn't playing me false and the instrument is a single neck it might indeed rule out Weiss since, as you suggest, there's no record of him being associated with the gallichon/mandora. It'll take me time to dig out the pic which is buried somewhere in what passes for my filing 'system' - but I will try. As I recall, the representation I'm thinking of is quite small so details like pegs were not shown Martyn --- On Mon, 11/7/11, Rob MacKillop robmackil...@gmail.com wrote: From: Rob MacKillop robmackil...@gmail.com Subject: Re: [BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss? To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: BAROQUE-LUTE baroque-lute@cs.dartmouth.edu Date: Monday, 11 July, 2011, 9:56 Interesting point, Martyn. I don't have the picture to hand. How many strings or tuning pegs are shown? I still think the four-string gallichon of circa 90cms length would make a great baroque bass instrument. It's not an instrument I've ever seen associated with Weiss, but that means little. Rob On 11 July 2011 09:52, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote: Good point Rob, but, if we're thinking of one of the pictures, I recall it seems to show a large lute with a single neck. Whilst this could, of course, be the engraver's own fancy it might suggest the performer is playing a gallichon (large continuo type).. Martyn --- On Mon, 11/7/11, Rob MacKillop [2]robmackil...@gmail.com wrote: From: Rob MacKillop [3]robmackil...@gmail.com Subject: [BAROQUE-LUTE] Re: Odp: Re: another portrait of S.L. Weiss? To: [4]mar...@gmlutz.de Cc: BAROQUE-LUTE [5]baroque-lute@cs.dartmouth.edu Date: Monday, 11 July, 2011, 9:33 I am well out of my depth here, so apologies, but are there not also a couple of paintings or engravings which might show Weiss at work? One is an opera setting, with a possible Weiss in the orchestral pit? The other is a small ensemble gathering, with a possible Weiss playing a long German theorbo (i.e. not a theorbo-lute)? Not exactly 'portraits', but worth mentioning, maybe? Rob MacKillop -- To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://uk.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk 2. http://uk.mc263.mail.yahoo.com/mc/compose?to=robmackil...@gmail.com 3. http://uk.mc263.mail.yahoo.com/mc/compose?to=robmackil...@gmail.com 4. http://uk.mc263.mail.yahoo.com/mc/compose?to=mar...@gmlutz.de 5. http://uk.mc263.mail.yahoo.com/mc/compose?to=baroque-lute@cs.dartmouth.edu 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Vihuela
Oskar de Mari-Jones, on Youtube, post two new videos of vihuela : [1]http://www.youtube.com/watch?v=Ydwo9tHP8DM [2]http://www.youtube.com/watch?v=DCDmyu13xvU Enjoy ! Val -- References 1. http://www.youtube.com/watch?v=Ydwo9tHP8DM 2. http://www.youtube.com/watch?v=DCDmyu13xvU To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bachelar still known in 1690
On 09.07.2011 19:33, Bernd Haegemann wrote: Historische Beschreibung der Edelen Sing- und Klingkunst ... by Wofgang CasparPrintz. which you can find here: http://diglib.hab.de/drucke/xb-1894/start.htm Excellent. See page 135 (picture 157). Rainer To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bachelar still known in 1690
On 11.07.2011 19:53, adS wrote: On 09.07.2011 19:33, Bernd Haegemann wrote: Historische Beschreibung der Edelen Sing- und Klingkunst ... by Wofgang CasparPrintz. which you can find here: http://diglib.hab.de/drucke/xb-1894/start.htm Excellent. See page 135 (picture 157). Rainer Posted again - something went wrong (I think) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What's the point to 'historical sound'
Playing in churches or stone-built castles is fine, and I can see why people like the reverberative acoustics. Lots of different kinds of music sound very good in these spaces. BUT - are we talking about HIP Renaissance lute, Baroque lute, or Medeival music? Stone-built castles were largely a medieval thing, and the residents heavily draped walls, etc. with tapestries and the like to make the spaces warmer and more habitable. This would have deadened the acoustics of those spaces. When we go to a place like Warkworth we're not seeing the space as it was when it was lived in, but a mere skeleton of that. If we look at Jan Vermeer's A lady at the virginals with a gentleman (`The Music Lesson´) http://en.wikipedia.org/wiki/File:Jan_Vermeer_van_Delft_014.jpg we see a typical upper middle class room environment from the mid 1660s. I think a lot of lute music was heard in spaces like this. Note the heavily draped table. The smaller dimensions of the room, the beamed ceiling, plus the addition of furniture, paintings on the walls, drapery, and even the way the walls were constructed (not stone), would all have contributed to moderating the reverberation (echo) in the room, with the end result being much less reverb than a church or castle. Hence the point of my earlier comment: I'd like to hear some HIP recordings done in a less-echoy, warmer setting ; ) Tom Mathias wrote... Don't know why so many of us like to play in churches, but I for one won't hesitate to accept speakers if I'm offered. For my 2 pence, I suggest that the acoustics are better (more authentic) in a stone built church being the closest resemblance of castles and the homes of nobility. Churches fulfill this role, with the bonus of seating for an audience. Almost every town and village in the UK has one, so venues are common enough to set up for a recital. Castles are fewer and far between and, historic houses may not always be so accommodating for a recital with seated audience. Why historic sound? This is what every listener who enjoys the lute or simply wants to experience, comes to expect. If we `evolve' from this, as other more modern instruments seem to be doing, it will become `lost' again. Will some future generation research and try to recreate the `historic sound' as much as we have been trying to do, if we move on from tradition? Kind regards Ron (UK) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362
[LUTE] Re: What's the point to 'historical sound'
Good points, Tom. I recently listened to (on FM radio) a Spanish lute piece played by Hopkinson Smith. Had I not been familiar with the instrument, I would have guessed that it was about the size of a grand piano. I can understand recording engineers wanting to 'enhance' a sound that to their ears may appear too 'small', but I would hope that players would have some say in the ultimate sound of the recording. Very positive examples of players having input into the recorded sound are the recordings done by Ron Andrico and Donna Stewart. -Ned On Jul 11, 2011, at 4:01 PM, t...@heartistrymusic.com wrote: Playing in churches or stone-built castles is fine, and I can see why people like the reverberative acoustics. Lots of different kinds of music sound very good in these spaces. BUT - are we talking about HIP Renaissance lute, Baroque lute, or Medeival music? Stone-built castles were largely a medieval thing, and the residents heavily draped walls, etc. with tapestries and the like to make the spaces warmer and more habitable. This would have deadened the acoustics of those spaces. When we go to a place like Warkworth we're not seeing the space as it was when it was lived in, but a mere skeleton of that. If we look at Jan Vermeer's A lady at the virginals with a gentleman (`The Music Lesson´) http://en.wikipedia.org/wiki/File:Jan_Vermeer_van_Delft_014.jpg we see a typical upper middle class room environment from the mid 1660s. I think a lot of lute music was heard in spaces like this. Note the heavily draped table. The smaller dimensions of the room, the beamed ceiling, plus the addition of furniture, paintings on the walls, drapery, and even the way the walls were constructed (not stone), would all have contributed to moderating the reverberation (echo) in the room, with the end result being much less reverb than a church or castle. Hence the point of my earlier comment: I'd like to hear some HIP recordings done in a less-echoy, warmer setting ; ) Tom Mathias wrote... Don't know why so many of us like to play in churches, but I for one won't hesitate to accept speakers if I'm offered. For my 2 pence, I suggest that the acoustics are better (more authentic) in a stone built church being the closest resemblance of castles and the homes of nobility. Churches fulfill this role, with the bonus of seating for an audience. Almost every town and village in the UK has one, so venues are common enough to set up for a recital. Castles are fewer and far between and, historic houses may not always be so accommodating for a recital with seated audience. Why historic sound? This is what every listener who enjoys the lute or simply wants to experience, comes to expect. If we `evolve' from this, as other more modern instruments seem to be doing, it will become `lost' again. Will some future generation research and try to recreate the `historic sound' as much as we have been trying to do, if we move on from tradition? Kind regards Ron (UK) -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Tom Draughon Heartistry Music http://www.heartistry.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362
[LUTE] Re: Bachelar still known in 1690
Thanks Rainer. Would anyone like to post a translation of the following paragraphs 20 and 21 which talk about the unknown inventor of the theorbo, and about Kapsberger? Best wishes, Magnus --- On Mon, 7/11/11, adS rainer.aus-dem-spr...@gmx.de wrote: From: adS rainer.aus-dem-spr...@gmx.de Subject: [LUTE] Re: Bachelar still known in 1690 To: Lute net lute@cs.dartmouth.edu Cc: praelu...@hotmail.com Date: Monday, July 11, 2011, 10:56 AM On 11.07.2011 19:53, adS wrote: On 09.07.2011 19:33, Bernd Haegemann wrote: Historische Beschreibung der Edelen Sing- und Klingkunst ... by Wofgang CasparPrintz. which you can find here: http://diglib.hab.de/drucke/xb-1894/start.htm Excellent. See page 135 (picture 157). Rainer Posted again - something went wrong (I think) To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What's the point to 'historical sound'
Hi people This whole discussion begins to approach the (almost ZEN) question of: What is the pure lute sound? And: What did the lute sound like yesteryear? As for myself, I have to say that I admire the quest for finding the perfect lute sound of the ancients. Those persuing it today are the present sound scientists. The creme-de-la-creme of exquisite sound epicurees, who wish to replicate the old sound of the LUTE. All kudos to you, and I admire your work, effort and almost religious dedication to the cause. (At the same time, I wonder how many you actually are :) As a lover of multiple plucked string instruments, I have to wonder though, if this is a quest that will ever be achievable. After all, the human ear endears itself to all kinds of sounds. Look at how a lute will sound in different environments. Out in the open nature (bird song and all), or confined within larger or smaller spaces (warm tapestried wooden rooms versus cathedrals). The sound will vary immensely. The stringing may vary, the construction of the lute may vary, etc. etc. This means that there are a quantum of factors that will affect the final sound of any lute (or plucked instrument) in a different setting. So should we persue this quest for the perfect lute sound, and can we? IMO Yes! By all means, if you are so inclined. But more important is to make the music come alive. In that respect, I don't believe the actual sound is paramount, but the quality of the music. The musicianship. (And I'm extremely ambiguous about the 1001 editings to CD's to make them perfect sounding cf. Glenn Gould). Perhaps CD's should have a live label, or specify that they've been variously edited. (If only for honesty). But let's face it, surely, any CD or album, has since time immemorial been edited and most mistakes weeded out. (I have a live recording I consentingly made of Paul'O at a concert in 1985 though, and the faults are impressively minimal! And the musicianship optimal already then!) A piece may sound wonderful (and touch the listener) on any instrument or in any combination of instruments. But, there must also be a reason to why f.ex. guitarists wish to alter the sound of their playing so much with all kinds of wave manipulation and distortion. (There must be 1001 or more ways to alter the sound of any note on a guitar string with the help of todays electronics), (I know, I know, another point for the fundamentalists...) But as I see it, human ears just love diversity. A piece by f. ex. Bach or Weiss, played on multiple instruments or if plucked on: an authentic gut strung 13 course German baroque lute, a harp, an 11-14 string alto guitar, a lautenwerck etc. may be equally moving as well as equally JUSTIFIED. I for one, greatly admire the fundamentalists, but also heartily applaud the innovating modernists (for need of a better word). If this rambling sounds self-evident, its because it is. I just had to put it down... TXS and Best G. - Original Message - From: Edward Mast nedma...@aol.com To: t...@heartistrymusic.com Cc: lute@cs.dartmouth.edu Sent: Monday, July 11, 2011 10:22 PM Subject: [LUTE] Re: What's the point to 'historical sound' Good points, Tom. I recently listened to (on FM radio) a Spanish lute piece played by Hopkinson Smith. Had I not been familiar with the instrument, I would have guessed that it was about the size of a grand piano. I can understand recording engineers wanting to 'enhance' a sound that to their ears may appear too 'small', but I would hope that players would have some say in the ultimate sound of the recording. Very positive examples of players having input into the recorded sound are the recordings done by Ron Andrico and Donna Stewart. -Ned On Jul 11, 2011, at 4:01 PM, t...@heartistrymusic.com wrote: Playing in churches or stone-built castles is fine, and I can see why people like the reverberative acoustics. Lots of different kinds of music sound very good in these spaces. BUT - are we talking about HIP Renaissance lute, Baroque lute, or Medeival music? Stone-built castles were largely a medieval thing, and the residents heavily draped walls, etc. with tapestries and the like to make the spaces warmer and more habitable. This would have deadened the acoustics of those spaces. When we go to a place like Warkworth we're not seeing the space as it was when it was lived in, but a mere skeleton of that. If we look at Jan Vermeer's A lady at the virginals with a gentleman (`The Music Lesson´) http://en.wikipedia.org/wiki/File:Jan_Vermeer_van_Delft_014.jpg we see a typical upper middle class room environment from the mid 1660s. I think a lot of lute music was heard in spaces like this. Note the heavily draped table. The smaller dimensions of the room, the beamed ceiling, plus the addition of furniture, paintings on the walls, drapery, and even the way the walls were constructed (not stone), would all have contributed
[LUTE] Re: What's the point to 'historical sound'
A piece may sound wonderful (and touch the listener) on any instrument or in any combination of instruments. But, there must also be a reason to why f.ex. guitarists wish to alter the sound of their playing so much with all kinds of wave manipulation and distortion. (There must be 1001 or more ways to alter the sound of any note on a guitar string with the help of todays electronics), (I know, I know, another point for the fundamentalists...) This makes me think of a wonderful recording by John Renbourn of the famous Sarabande by J.S. Bach from Partita No.1 BWV 1002 for Unaccompanied Violin. He played it on an Epiphone Casino hollowbody electric guitar with tremelo and reverb. http://www.amazon.com/Lady-Unicorn-John-Renbourn/dp/B00E9F (The entire LP is wonderful.) Renbourn states on the liner notes that he was in no way trying to be historic, but to bsaically breathe new life into some ancient pieces. I think he succeeded. I think that, if the old masters had possessed effects, they would have used them. I have to agree with G. that the quest for finding HIP lute sound is admirable, and I am always amazed at the amount of knowledge, expertise and musicality of members of this list. For those who are recordists, why not experiment with some different environments: close mic'ed outdoors in a courtyard, or in a small bright room, or in a well designed sound studio with very subtle reverb added electronically? It's apples and oranges - personal preference, but I think it nice when a recording of a solo instrument sounds as if the player is in my living room as opposed to somewhere else. Thanks for this discussion, Tom Hi people This whole discussion begins to approach the (almost ZEN) question of: What is the pure lute sound? And: What did the lute sound like yesteryear? As for myself, I have to say that I admire the quest for finding the perfect lute sound of the ancients. Those persuing it today are the present sound scientists. The creme-de-la-creme of exquisite sound epicurees, who wish to replicate the old sound of the LUTE. All kudos to you, and I admire your work, effort and almost religious dedication to the cause. (At the same time, I wonder how many you actually are :) As a lover of multiple plucked string instruments, I have to wonder though, if this is a quest that will ever be achievable. After all, the human ear endears itself to all kinds of sounds. Look at how a lute will sound in different environments. Out in the open nature (bird song and all), or confined within larger or smaller spaces (warm tapestried wooden rooms versus cathedrals). The sound will vary immensely. The stringing may vary, the construction of the lute may vary, etc. etc. This means that there are a quantum of factors that will affect the final sound of any lute (or plucked instrument) in a different setting. So should we persue this quest for the perfect lute sound, and can we? IMO Yes! By all means, if you are so inclined. But more important is to make the music come alive. In that respect, I don't believe the actual sound is paramount, but the quality of the music. The musicianship. (And I'm extremely ambiguous about the 1001 editings to CD's to make them perfect sounding cf. Glenn Gould). Perhaps CD's should have a live label, or specify that they've been variously edited. (If only for honesty). But let's face it, surely, any CD or album, has since time immemorial been edited and most mistakes weeded out. (I have a live recording I consentingly made of Paul'O at a concert in 1985 though, and the faults are impressively minimal! And the musicianship optimal already then!) A piece may sound wonderful (and touch the listener) on any instrument or in any combination of instruments. But, there must also be a reason to why f.ex. guitarists wish to alter the sound of their playing so much with all kinds of wave manipulation and distortion. (There must be 1001 or more ways to alter the sound of any note on a guitar string with the help of todays electronics), (I know, I know, another point for the fundamentalists...) But as I see it, human ears just love diversity. A piece by f. ex. Bach or Weiss, played on multiple instruments or if plucked on: an authentic gut strung 13 course German baroque lute, a harp, an 11-14 string alto guitar, a lautenwerck etc. may be equally moving as well as equally JUSTIFIED. I for one, greatly admire the fundamentalists, but also heartily applaud the innovating modernists (for need of a better word). If this rambling sounds self-evident, its because it is. I just had to put it down... TXS and Best G. - Original Message - From: Edward Mast nedma...@aol.com To: t...@heartistrymusic.com Cc: lute@cs.dartmouth.edu Sent: Monday, July 11, 2011 10:22 PM Subject: [LUTE] Re: What's the point to 'historical sound' Good points, Tom. I recently listened to (on FM radio)
