[LUTE] Re: Reconstructing Thibault MS
Thank you, Tristan! Thank you for watching, I'm happy to get your feedback! It's obviously a problematic source, I think it's why it's not on a great demand. No, I had no intention to edit all the book through, most of the pieces are already edited by different lutenists. There is Dick Hoban's transcriptions, Hector Sequera's, and many others including several Master Thesises. I'm just wanted to try it on my own and see what the results it brings. And my idea was to create 'close-to-original' edition, keeping all the signs on it's places, so italian tablature. Sincerely, Konstantin òÃ, 3 üðà 2020 ó. ò 19:16, Tristan von Neumann <[1]tristanvonneum...@gmx.de>: Wow nice! Those are great videos. Glad you are interested in this early source! I know your older videos with archlute which I enjoyed a lot. I have been wondering why there's not much around on this Ms. Are you planning to edit the whole Ms.? If so, Sarge Gerbode would probably happy to feature a French tab version in his archive. Cheers, T* On 03.05.20 09:59, Konstantin Shchenikov wrote: > Dear friends, > During the course in Basel I worked with Marc Lewon on Thibault MS and > get some interesting fruits from it. I would love to share my > results and get feedback from your professional society. I know > several people here also had experience with that source, so it would > be great to share the ideas. Advice, criticism etc are very > appreciated, as the work is still in progress. > Here is my short video about process of reconstructing (with some > music): > [1][2]https://youtu.be/5msDdlwUVtE > Here are two versions of bassadanza: > [2][3]https://youtu.be/A9VnpkUv1Cs > On my website you can find more detailed the article with editions > inside: > [3][4]https://en.fromrussiawithlute.com/stati > Looking forward to your opinions! > Sincerely, > Konstantin > > -- > > References > > 1. [5]https://youtu.be/5msDdlwUVtE > 2. [6]https://youtu.be/A9VnpkUv1Cs > 3. [7]https://en.fromrussiawithlute.com/stati > > > To get on or off this list see list information at > [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:tristanvonneum...@gmx.de 2. https://youtu.be/5msDdlwUVtE 3. https://youtu.be/A9VnpkUv1Cs 4. https://en.fromrussiawithlute.com/stati 5. https://youtu.be/5msDdlwUVtE 6. https://youtu.be/A9VnpkUv1Cs 7. https://en.fromrussiawithlute.com/stati 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Reconstructing Thibault MS
Dear friends, During the course in Basel I worked with Marc Lewon on Thibault MS and get some interesting fruits from it. I would love to share my results and get feedback from your professional society. I know several people here also had experience with that source, so it would be great to share the ideas. Advice, criticism etc are very appreciated, as the work is still in progress. Here is my short video about process of reconstructing (with some music): [1]https://youtu.be/5msDdlwUVtE Here are two versions of bassadanza: [2]https://youtu.be/A9VnpkUv1Cs On my website you can find more detailed the article with editions inside: [3]https://en.fromrussiawithlute.com/stati Looking forward to your opinions! Sincerely, Konstantin -- References 1. https://youtu.be/5msDdlwUVtE 2. https://youtu.be/A9VnpkUv1Cs 3. https://en.fromrussiawithlute.com/stati To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Double Top
Some years ago St Petersburg luthier Mikhail Fedchenko experimented with double top lute. He built renaissance lute for Arkadi Burkhanov, lutenist from Novosibirsk and music director of 'Insula Magica' ensemble. I had some experience with this lute and I'm not happy at all. Yes, it's noticably louder than normal lute, but it's the first and last advantage. The resonances moved to a low part and the lute sounded very close to guitar, the sustaine was longer, but a bit strange way, so in lute music it produced much more harmonic roughness than beauty, and more problem with stopping string. And the nature of sound has changed, especially audible in polyphonic pieces - instead of horizontal lines we heard more verticals. I don't know how to explain, but it allows less polyphony, everything drives to vertical harmony and sounds like chord progression instead of simultaneous melodic lines. If I needed to open up polyphony it tooks much more efforts. It wasn't a lute anymore, it was different instrument built for different music. But it's only my opinion based on only one experience. ÃÃ, 25 üðÃ. 2020 ó., 0:32 John Mardinly <[1]john.mardi...@asu.edu>: Last summer, I purchased a âdouble top' guitar. The sound this instrument produces is astounding. It looks like a normal guitar, but the top consists of two layers of wood a half millimeter thick with a latticework of thin balsa wood strips in between for reinforcement. The result is a slab suitable for an instrument top that is much less dense than any solid wood and thus vibrates more easily yet still has sufficient strength to withstand the stress of the strings on the bridge. Question is, has this been tried on a lute? Are there any luthiers interested in trying? A. John Mardinly, Ph.D., P.E. Classical Guitarist/Lutenist On Mar 23, 2020, at 10:20 PM, David van Ooijen <[1][2]davidvanooi...@gmail.com> wrote: This is what I made a while ago with my guitar (and one lute!) pupil. [1][2][3]https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu. be_- 5Frd4ybtec4Y=DwIBAg=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ& r=V LPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=Q7_nqWFrXqIFDsOhjWGSrNT 1E4 Gm0tnLie2Pb6saiaA=NXpYB9panSORS1wHZF56I315HDkmC4kfG1KQStwHa4I= David On Tue, 24 Mar 2020 at 00:41, Alain Veylit <[2][3][4]al...@musickshandmade.com> wrote: A somewhat more elaborate take on the same idea - also using a master tape, but took about a year to record in "real time": [3][4][5]https://urldefense.proofpoint.com/v2/url?u=https-3A__www.yo ut ube.com_watch-3Fv-3Dph1GU1qQ1zQ=DwIBAg=l45AxH-kUV29SRQusp9vYR0n1 Gyc N4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=Q7_n qWF rXqIFDsOhjWGSrNT1E4Gm0tnLie2Pb6saiaA=vDtH7embWEqv73Vdex3YtDsNtZf9n AWp WvtkI2WjAQg= Luthistes de tous les pays unissez-vous! On 3/23/20 3:30 PM, howard posner wrote: On Mar 23, 2020, at 8:12 AM, Diego Cantalupi <[4][5][6]tio...@gmail.com> wrote: Each one with his/her phone. Il 23/03/2020 16:11, Dr. Henner Kahlert ha scritto: Wonderful! With which device did you manage to play and record this? Could you share how you did it? Two days ago I tried to lead our small congregation in a virtual service using Zoom, and it was impossible to synchronize it. Even if our mouths were moving in unison, it was cacophony. To get on or off this list see list information at [5][6][7]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs. dar tmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29SRQ usp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZON BRt90E=Q7_nqWFrXqIFDsOhjWGSrNT1E4Gm0tnLie2Pb6saiaA=KB0q6iBbV2bYP 8RQzSThRnFRaBVeGR-3KDzDBcsyMrw= -- *** David van Ooijen [6][7][8]davidvanooi...@gmail.com [7][8][9]https://urldefense.proofpoint.com/v2/url?u=https-3A__davidv anoo [10]ijen.wordpress.com=DwIBAg=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jI nuKy6zb qQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=Q7_nqWFrXqIFDsOhj WGS rNT1E4Gm0tnLie2Pb6saiaA& e= *** -- References 1. [9][11]https://urldefense.proofpoint.com/v2/url?u=https-3A__youtu.be _-5Frd4 ybtec4Y=DwIBAg=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLP J8O E-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E=Q7_nqWFrXqIFDsOhjWGSrNT1E4Gm 0tn
[LUTE] Re: Realizing a passible continuo line...
Mr. Hodgson, You certainly have your right to disagree. Could you just satisfy my curiosity by pointing me out the sources of the early XVII c, describing the rules of octave? All sources I read tells the opposite: no connection with steps of the scale, such a thing has not even been mentioned. Only connection with scale - natural or #/b intervals above the bass, depending not on the step of the bass (as octave rule does), but depending on the next step of the bass (bass movements). I wouldn't overcomplicate mr. Probert's task, rules by Bianchiardi are more simple than octave rule. And if one has a little idea about Monteverdi's style, things cannot be clarified in a couple of words. Here is Agazzari, for instance, page 7 of the PDF contains the good example of realisation, it might be good for the beginning. Just play and analyze. [1]https://imslp.org/wiki/Del_Sonare_sopra'l_basso_con_tutti_li_stromen ti_(Agazzari%2C_Agostino) If one has time, the good idea come through the sources and get the idea (or meet in person someone more experienced). If not, just don't take so much care and do your best for now. As I told, I see no big problem with d-minor tuning. In Monteverdi's times continuo is more simple in terms of harmony, my teachers (like Andrew Lawrence King) told me to avoid complicated figuring most of the time. 53 or 6 chords, 7/6 and 4/3 suspensions are good solution for most of the time (and 5/4-5/3 without 6/4 - 5/3 for most of the cadances) and let the voice do the rest - dissonances, clashes, dischords - if it's occurs, are stylish. F.T.Arnold in his book "the Art of Accompaniment from a thorough-bass" showed a lot of examples. And good luck with this beautiful music! K. ÃÃ, 5 ÃõòÃ. 2020 ó., 14:02 Martyn Hodgson <[2]hodgsonmar...@mail.cs.dartmouth.edu>: I can't agree with that assertion - it mostly does. But, in any case, I didn't wish to over-complicate the matter for Mr Probert MH On Wednesday, 5 February 2020, 10:53:14 GMT, Konstantin Shchenikov <[3]konstantin.n...@gmail.com> wrote: WARNING! Rule of the octave doesn't work at the Monteverdi's times! In fact, theory has changed. In XVII c. bass movements does matter (on what interval and in what direction bass moves) without any correspondances with step of the scale. Check the rules in Bianchiardi "Breve regola per imparar a suonare" for figuring (and preface to Viadana's "Cento concerti ecclesiastici"). Arpeggiation is in use, check the prefaces in Piccinini's "Libro Primo" and Kapsberger's "libro quattro di chitarrone". Some tips about little passages, passing notes and rhythmical treatment and several examples can also be found in Agazzari's "Del suonare sopra'l basso" and Bianciardi mentioned above. Turning to the instrument, you can use your high range, which absents on theorbo. But archlute has high range as well, and it's the other continuo instrument of XVII cent. And some archlutes could have octave basses. I, personally, see no problem with d-minor tuning, but the sound is different from archlutes, so the whole idea must be close, but not the same. Good luck! ÃÃ, 5 Ãà µà ²Ã. 2020 à ³. à ² 13:20, Martyn Hodgson <[1][4]hodgsonmar...@mail.cs.dartmouth.edu>: Howard's advice is very sound. In practice, go through the score and figure up the bass part using the 'rule of the octave'; and generally employ 6 chords where the bass is sharpened; and also use the occasional suspension (eg 7 - 6 or 4-3) to taste (though an occasional passing clash with the upper lines is perfectly acceptable in this repertoire). Always checking, of course, with the vocal lines; so that for example, bars 22-23 will be generally figured [ 6(3) - 7/5 ] [(5)4 - # ]. Whether you play a major chord on bar 24 or a bare fifth is, perhaps, also a matter of taste. Insert the usual cadential formula as necessary, for example, a 4 - 3 in bar 27 Then simply play the chords (three parts is probably all you'll need) Here's a clean version to work on [1][2][5]http://www3.cpdl.org/wiki/images/8/82/Mont-aes.pdf MH On Wednesday, 5 February 2020, 07:22:51 GMT, howard posner <[3][6]howardpos...@ca.rr.com> wrote: > On Feb 4, 20
[LUTE] Re: Realizing a passible continuo line...
WARNING! Rule of the octave doesn't work at the Monteverdi's times! In fact, theory has changed. In XVII c. bass movements does matter (on what interval and in what direction bass moves) without any correspondances with step of the scale. Check the rules in Bianchiardi "Breve regola per imparar a suonare" for figuring (and preface to Viadana's "Cento concerti ecclesiastici"). Arpeggiation is in use, check the prefaces in Piccinini's "Libro Primo" and Kapsberger's "libro quattro di chitarrone". Some tips about little passages, passing notes and rhythmical treatment and several examples can also be found in Agazzari's "Del suonare sopra'l basso" and Bianciardi mentioned above. Turning to the instrument, you can use your high range, which absents on theorbo. But archlute has high range as well, and it's the other continuo instrument of XVII cent. And some archlutes could have octave basses. I, personally, see no problem with d-minor tuning, but the sound is different from archlutes, so the whole idea must be close, but not the same. Good luck! ÃÃ, 5 ÃõòÃ. 2020 ó. ò 13:20, Martyn Hodgson <[1]hodgsonmar...@mail.cs.dartmouth.edu>: Howard's advice is very sound. In practice, go through the score and figure up the bass part using the 'rule of the octave'; and generally employ 6 chords where the bass is sharpened; and also use the occasional suspension (eg 7 - 6 or 4-3) to taste (though an occasional passing clash with the upper lines is perfectly acceptable in this repertoire). Always checking, of course, with the vocal lines; so that for example, bars 22-23 will be generally figured [ 6(3) - 7/5 ] [(5)4 - # ]. Whether you play a major chord on bar 24 or a bare fifth is, perhaps, also a matter of taste. Insert the usual cadential formula as necessary, for example, a 4 - 3 in bar 27 Then simply play the chords (three parts is probably all you'll need) Here's a clean version to work on [1][2]http://www3.cpdl.org/wiki/images/8/82/Mont-aes.pdf MH On Wednesday, 5 February 2020, 07:22:51 GMT, howard posner <[3]howardpos...@ca.rr.com> wrote: > On Feb 4, 2020, at 6:31 PM, Mark Probert <[2][4]probe...@gmail.com> wrote: > > Suppose I given a piece of early > Baroque music, take Monteverdi's duet "Ardo e scoprir"[1] by way of > specific example, and I want to create a passable continuo line to > support the singers (potentially with me singing one of lines). > > I come armed with my lute, an a-historic Dm 13c lute, a certain amount > of theory, but no real clue apart from "play the indicated root" and > "arpeggiate the triads". Neither of those is necessarily a good idea, especially if by "play the indicated root" you mean assuming the bass note is the root of the chord. But if you know the basic rules (you're familiar with the rule of the octave?) you can get most of the harmonies right without too much trouble. > Given this is akin to asking "how do you realize a bass," can anyone > point me in the direction of how you start such a journey on a lute? If you want to learn how to do it, I'd start with Nigel North's "Continuo Playing on the Lute, Archlute and Theorbo." If you just want to slap something together for a specific piece, you might get a realized version (which will probably be intended for piano) and alter it to suit your needs. > And if the theory is much different using a Dm lute rather than theorbo? The theory doesn't change. A major chord is a major chord and a suspension is a suspension. You'll have higher notes than a theorbo has, but less volume and sustain. Sometimes this means playing a busier accompaniment to keep the sound going (good luck with that if you're singing at the same time). To get on or off this list see list information at [3][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [6]http://www3.cpdl.org/wiki/images/8/82/Mont-aes.pdf 2. mailto:[7]probe...@gmail.com 3. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:hodgsonmar...@mail.cs.dartmouth.edu 2. http://www3.cpdl.org/wiki/images/8/82/Mont-aes.pdf 3. mailto:howardpos...@ca.rr.com 4. mailto:probe...@gmail.com 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www3.cpdl.org/wiki/images/8/82/Mont-aes.pdf 7. mailto:probe...@gmail.com 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Lute Fringe at Utrecht Oude Muziek
Dear Colleagues, I kindly invite those of you who are in NL on my Fringe recitals at Utrecht Oude Muziek festival next weekend! My program calls "Portraits of the Renaissance". âPortraits' means here not only specific english genre of musical portrait (like «Queen Elizabeth galliard ») but something more wide, a portrait of the era itself. I will play XV-XVI c. greatest hits, like variations on 'Mille Regretz', 'Susanne ung jour' and some favorite folk songs and english portraits, of course! I play it two times with minor changes 24th of August, Saturday, 11.00 Fundatie van Renswoude Agnietenstraat, 5 25th of August, Sunday, 15.00 Balzaal, Winkel van Sinkel Oudegracht, 158 Facebook event here: [1]https://facebook.com/events/481608852397493 And another concert with the same program at Sellebroederskapel, Maastricht, NL 26 of August, 20.00 [2]https://facebook.com/events/309283376513283 Please, share this with your friends who might be interested! P.S. One piece from this program in order to present myself ;) [3]https://youtu.be/rY9fwGrY8IM Hope to see some of you and to talk after the concert! -- References 1. https://facebook.com/events/481608852397493 2. https://facebook.com/events/309283376513283 3. https://youtu.be/rY9fwGrY8IM To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Antonio Reggio (1725-1780)
I had experience with that music. I've recorded 1st and 2nd with organ, played it in concerts with harpsichord and another archlute. I also did some guitar solo and guitar duo arrangements of several sonatas for Anthony Hart and played some of them on XIX c. guitar. I read through more or less all 24 lute sonatas. Some of them are very interesting. In the average the music is of interesting transitional style and good quality. There are some signs of old style, like 2-part form close to Scarlatti Sonatas or Bach-Sons pieces. The manner of working with material is mostly old-fashioned for 70s' when Haydn and Mozart were flourished, but the musical material itself sounds more close to those vienna classics with some interesting haromies of very 'fresh' style linked to me with Mozart or even Schubert (f-minor sonata particulary, find the link below). After playing with harpsichord and archlute I came to conclusion, that texture is missing in this music. There is a lot of fast contrasts in material which must be supported with different types of texture in accompaniment: choral chords in 1st bar, arpeggios in the 2nd and counterpoint in 3rd... Using similar kind of melodies and harmonies Mozart wrote such a texture contrasts out carefully in his sonatas. Reggio uses outdated manner of spelling and leave musicians to improvise it. (So, the organ is not the best instrument for accompaniment here and my first recordings are not satisfying, I'm still thinking of re-recording this music with new ideas) There are lots of question for me regarding this music. The first is what instrument Reggio called lute? It's written in treble clef and in high tessitura. Should it sound octave lower, like classical guitar does? In this case some places occurs where lower note in the lute part are lower than bass part. May be it's some little instrument with high tunings? - So, this places with doubtful voice leading will be solved, but may be this doubtful voice leading is just composer's error? What kind of tuning is involved? May be different tunings? Some chords written out very comfortable for classical guitar tuning (but also for archlute in A), some are written way to low even for archlute in G. There is a sonatas in terrible keys for lute... That's all are very interesting and I highly recommend to play Reggio. He is worth of it. So here are my recordings: F-minor [1]https://youtu.be/efGYZtcx04Y C-major [2]https://youtu.be/AI5Yjel4V7c Cheers, Konstantin -- References 1. https://youtu.be/efGYZtcx04Y 2. https://youtu.be/AI5Yjel4V7c To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: decent field recorder for lute
I own an old H4n and did a lot of recordings on that thing. Regarding your last question, Tristan: yes, one can use it as a USB sound processing device. When you connect it via USB, it let you choose a mode: storage (copy files only, not recharge a battery, I'm afraid) or as Input/Output interface for your computer. In second mode you can use it as sound card and record directly to computer. I use it different ways: as a live recorder, as a sound card, as a 'home studio' device and it works fine all the time. Fast connection, clear menu with simple navigation. Comparing preamps with zoom h6 and other similar I can say, old H4 sounds more 'bassy' what makes interesting effect on the lute (nice attack on unwound basses on archlute). And a tiny bit more noissy also, but it's not a problem if you set the gain accurately. And experimenting with some effects (dinamique eq, band compression) it can makes nice results. Very good and comfortable device for any kind of home/field work. All the best, Konstantin. ÿý, 20 üðà 2019 ó., 15:36 Tristan von Neumann <[1]tristanvonneum...@gmx.de>: Yes I read about that - but it can be used as an USB sound processing device then, or does it only recharge or read files? On 20.05.19 12:26, Ralf Mattes wrote: > > Am Sonntag, 19. Mai 2019 19:06 CEST, Tristan von Neumann <[2]tristanvonneum...@gmx.de> schrieb: > >> It seems the Zoom can be powered by USB when recording at the computer? >> If not, I would tend to buy the Tascam with longer battery life. >I can't speak about the newer H4 devices, but USB bus power only worked when the device was pluged into > to computer before switching it on. > >Cheers, RalfD > > > > > > > > > To get on or off this list see list information at > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- References 1. mailto:tristanvonneum...@gmx.de 2. mailto:tristanvonneum...@gmx.de 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: electric theorbo
Sorry, something goes wrong with the link: [1]https://www.facebook.com/baroque4you/videos/551180878677128/ ÿÃ, 12 þúÃ. 2018, 12:36 Konstantin Shchenikov <[2]konstantin.n...@gmail.com>: Dear colleagues, I do not pretending to be an expert or merely theorbo master, but would like to say that theorbo (even my, which is honestly not the best one) is loud enough with proper technique. I do not suffer playing this way. Thanks to may teachers, Evangelina Mascardi and Xavier Diaz-Latorre who showed me correct sound production and explained how to teach myself this way. Also I do not fighting against a band, I'm observing time and tessitura to be built in music, to support the band and to be audible (thanks to my composition studies for that). Obviously, if you play with modern orchestra with 16 I violins and brass, theorbo is useless and there is no sence to enforce lutes for that purpose. If one plays with big period orchestra one theorbo is not enough, 2-3 axes of lutes plus harps makes effect if everyone plays with correct technique. That is historical evidence. Below is the proof. Days ago I played in ballet at the Hermitage theater. The band is small and I am single theorbist. There was no amplifier, there was no mic close to the theorbo, only distance mics. Be the way, I do not use the nails on right hand. Lute starts to play on about 13 min. Tell me, is it still not enough? Your experience is more rich than mine and most of you know more than me, so I would be glad to get your comments If I'm wrong. I would like to be better! (Sorry, webcast was only in a Facebook, but Fb haters can watch without logging in) [1][3]https://www.facebook.com/baroque4you/videos/551180878677128/?_ _xts__ [0]=68.ARC_yp_WNftrYVq_uOl0-j9Xxr6QaquBSFdwNY5szs4Gvtf_vuAAc8QYfufyg Vhw VPxYsXRSZgARlk-cUmiT--7f7m5tgoss7DzJ071sjGrf27nM8prkEzpKc6CfXymPj2En yRD vpdjtzES2kW01YQ1Gh7UWjPvuINA4-uZMGbJB2YIQVGZp3YE&__tn__=H-R Sincerely, Konstantin à ²Ã, 9 à ¾à ºÃ. 2018 à ³. à ² 0:42, Ron Andrico <[2][4]praelu...@hotmail.com>: For what it's worth, an increasing number do not. __ From: [3][5]lute-...@cs.dartmouth.edu <[4][6]lute-...@cs.dartmouth.edu> on behalf of John Lenti <[5][7]johnle...@hotmail.com> Sent: Monday, October 8, 2018 8:39 PM To: howard posner; lutelist Net Subject: [LUTE] Re: electric theorbo Oh god, I didn't think anyone looked at that magazineâ ¦.. Sent from [1]Mail for Windows 10 __ From: [6][8]lute-...@cs.dartmouth.edu <[7][9]lute-...@cs.dartmouth.edu> on behalf of howard posner <[8][10]howardpos...@ca.rr.com> Sent: Saturday, September 29, 2018 10:32:35 PM To: lutelist Net Subject: [LUTE] electric theorbo On 04/10/2013 07:17, John Lenti wrote: > Speaking as a full-time theorbo player, I feel that I can say with some authority that the theorbo cannot be held comfortably by anyone ever. What you do is you play near the bridge and suffer, pop some Advil, suffer some more, pop a Demerol, more massage, claw at the strings nearish the bridge, Demerol, suffer, stretch, suffer, take a month off, and then start over. The theorbo is out to get you, and it will win. I bring up John's memorable (and, alas, accurate) 5-year-old remarks because the current issue of Early Music America has a feature story on the Seattle Baroque Orchestra, which includes a picture of him playing a concerto for electric theorbo, an instrument I had never imagined, but which looks like John's ergonomic dream instrument. On to victory... To get on or off this list see list information at [2][9][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [1][10][12]https://go.microsoft.com/fwlink/?LinkId=550986 2. [2][11][13]http://www.
[LUTE] Re: electric theorbo
Dear colleagues, I do not pretending to be an expert or merely theorbo master, but would like to say that theorbo (even my, which is honestly not the best one) is loud enough with proper technique. I do not suffer playing this way. Thanks to may teachers, Evangelina Mascardi and Xavier Diaz-Latorre who showed me correct sound production and explained how to teach myself this way. Also I do not fighting against a band, I'm observing time and tessitura to be built in music, to support the band and to be audible (thanks to my composition studies for that). Obviously, if you play with modern orchestra with 16 I violins and brass, theorbo is useless and there is no sence to enforce lutes for that purpose. If one plays with big period orchestra one theorbo is not enough, 2-3 axes of lutes plus harps makes effect if everyone plays with correct technique. That is historical evidence. Below is the proof. Days ago I played in ballet at the Hermitage theater. The band is small and I am single theorbist. There was no amplifier, there was no mic close to the theorbo, only distance mics. Be the way, I do not use the nails on right hand. Lute starts to play on about 13 min. Tell me, is it still not enough? Your experience is more rich than mine and most of you know more than me, so I would be glad to get your comments If I'm wrong. I would like to be better! (Sorry, webcast was only in a Facebook, but Fb haters can watch without logging in) [1]https://www.facebook.com/baroque4you/videos/551180878677128/?__xts__ [0]=68.ARC_yp_WNftrYVq_uOl0-j9Xxr6QaquBSFdwNY5szs4Gvtf_vuAAc8QYfufygVhw VPxYsXRSZgARlk-cUmiT--7f7m5tgoss7DzJ071sjGrf27nM8prkEzpKc6CfXymPj2EnyRD vpdjtzES2kW01YQ1Gh7UWjPvuINA4-uZMGbJB2YIQVGZp3YE&__tn__=H-R Sincerely, Konstantin òÃ, 9 þúÃ. 2018 ó. ò 0:42, Ron Andrico <[2]praelu...@hotmail.com>: For what it's worth, an increasing number do not. __ From: [3]lute-...@cs.dartmouth.edu <[4]lute-...@cs.dartmouth.edu> on behalf of John Lenti <[5]johnle...@hotmail.com> Sent: Monday, October 8, 2018 8:39 PM To: howard posner; lutelist Net Subject: [LUTE] Re: electric theorbo Oh god, I didn't think anyone looked at that magazineâ¦.. Sent from [1]Mail for Windows 10 __ From: [6]lute-...@cs.dartmouth.edu <[7]lute-...@cs.dartmouth.edu> on behalf of howard posner <[8]howardpos...@ca.rr.com> Sent: Saturday, September 29, 2018 10:32:35 PM To: lutelist Net Subject: [LUTE] electric theorbo On 04/10/2013 07:17, John Lenti wrote: > Speaking as a full-time theorbo player, I feel that I can say with some authority that the theorbo cannot be held comfortably by anyone ever. What you do is you play near the bridge and suffer, pop some Advil, suffer some more, pop a Demerol, more massage, claw at the strings nearish the bridge, Demerol, suffer, stretch, suffer, take a month off, and then start over. The theorbo is out to get you, and it will win. I bring up John's memorable (and, alas, accurate) 5-year-old remarks because the current issue of Early Music America has a feature story on the Seattle Baroque Orchestra, which includes a picture of him playing a concerto for electric theorbo, an instrument I had never imagined, but which looks like John's ergonomic dream instrument. On to victory... To get on or off this list see list information at [2][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [1][10]https://go.microsoft.com/fwlink/?LinkId=550986 2. [2][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [12]https://go.microsoft.com/fwlink/?LinkId=550986 2. [13]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. https://www.facebook.com/baroque4you/videos/551180878677128/?__xts__[0]=68.ARC_yp_WNftrYVq_uOl0-j9Xxr6QaquBSFdwNY5szs4Gvtf_vuAAc8QYfufygVhwVPxYsXRSZgARlk-cUmiT--7f7m5tgoss7DzJ071sjGrf27nM8prkEzpKc6CfXymPj2EnyRDvpdjtzES2kW01YQ1Gh7UWjPvuINA4-uZMGbJB2YIQVGZp3YE&__tn__=H-R 2. mailto:praelu...@hotmail.com 3. mailto:lute-...@cs.dartmouth.edu 4. mailto:lute-...@cs.dartmouth.edu 5. mailto:johnle...@hotmail.com 6. mailto:lute-...@cs.dartmouth.edu 7. mailto:lute-...@cs.dartmouth.edu 8. mailto:howardpos...@ca.rr.com 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 10. https://go.microsoft.com/fwlink/?LinkId=550986 11.
[LUTE] Looking for a contact of Bernhard Lang.
Dear friends, I'm looking for a contact of Bernhard Lang, the owner of http://www.bassus-generalis.org/ The adress I've got from the site (bernhard at bassus - generalis dot org) doesn't work... Could some of you put me in touch with him? Thanks in advance! Konstantin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Piccinini
Though Piccinini describes 13 course lute in his 1623 preface, I know at least two pieces, asking just for 7 cources. Corrente V (1st book) and famous Passacaglia (2nd book). May be there is another examples, but haven't played all Piccinini pieces through. 2015-09-01 22:11 GMT+04:00 Konstantin Shchenikov <konstantin.n...@gmail.com>: > Though Piccinini describes 13 course lute in his 1623 preface, I know at > least two pieces, asking just for 7 cources. Corrente V (1st book) and > famous Passacaglia (2nd book). May be there is another examples, but haven't > played all Piccinini pieces through. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Vivaldi RV540 webcast
Dear colleagues! I am proud to present webcast recording of last concert I've took a part. We played a lot of Italiat XVIII c music in Tchaikovsky Concert Hall of Moscow Philarmonie with Moscow early music band The Pocket Symphony. Among all continuo things I've played solo Vivaldi RV 540 for lute and viola d'amore using baroque mandolin lute-like way with fingers. I made some research about year ago and thanks to this list came to conclusion that concert was writing not for mandolin :) But music director engaged me as soloist mandolinist anyway by his own reasons. His taste dictated soprano range instrument playing in the same octave with viola d'amore, and it was his decision to make. I was a bit sceptical in the very beginning but now I hear it's nice anyway and mandolin could be of use. It's just my opinion without any claims. Here is the link (RV540 starts about 1 h 05 min): http://www.meloman.ru/concert/znamenitye-instrumentalnye-koncerty-epohi-barokko/#webcast I would be happy to have some your comments, opinions and waiting for criticism. Best regards from St.Petersburg, Konstantin. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Mariinsky theater plays baroque tonight
Dear collegues, Mariinsky Theater trying new game - baroque. I'm taking a part in it tonight. You can watch the concert Online: http://mariinsky.tv/n/e Webcast starts tonight at 19.00, Moscow time. Pray for me)) Greetings from Russia, Konstantin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Psalms of David
Dear friends, I am looking for Vallet's Psalms of David for voice and lute (lutes). Do anybody knows where can I get it? Or may be somebody could share it? Thanks a lot in advance for any responce! Greetings from St.Petersburg, Konstantin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Psalms of David
Dear Jean-Michel, Thank you for the link, but it's a psalmes for solo lute (Regia Pietas, 1620). I've already got what I need (thanks to Ulrich Wedemeier), it's a Psaumes de David (1615). If it's helpful for somebody else, it's here: [1]http://conquest.imslp.info/files/imglnks/usimg/d/db/IMSLP294271-SIBL EY1802.27720.f718-39087011630128xxi_pseaumes.pdf Best for all, Konstantin 2014-07-10 14:20 GMT+04:00 jean-michel Catherinot [2]jeanmichel.catheri...@cs.dartmouth.edu: A A [3]http://www.gerbode.net/facsimiles/vallet/psalms_of_david_1620/ A A here it is A A Le Jeudi 10 juillet 2014 10h43, Konstantin Shchenikov A A [4]konstantin.n...@gmail.com a ecrit : A A A Dear friends, A A A I am looking for Vallet's Psalms of David for voice and lute A A (lutes). A A A Do anybody knows where can I get it? Or may be somebody could share A A it? A A A Thanks a lot in advance for any responce! A A A Greetings from St.Petersburg, A A A Konstantin A A A -- A A To get on or off this list see list information at A A [1][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html A A -- References A A 1. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://conquest.imslp.info/files/imglnks/usimg/d/db/IMSLP294271-SIBLEY1802.27720.f718-39087011630128xxi_pseaumes.pdf 2. mailto:jeanmichel.catheri...@cs.dartmouth.edu 3. http://www.gerbode.net/facsimiles/vallet/psalms_of_david_1620/ 4. mailto:konstantin.n...@gmail.com 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Vivaldi solo lute
Dear friends! I am curious abour mandore (treble lute) as solo instrument for Vivaldi concertos and trio sonatas with liuto obligato. Have anyone an experience with it? Could you point me to some research? I am especially interesting about how far it from (or how close to) baroque mandolin? Makes it sence to use baroque mandolin instead of mandore? I've read somewhere that renaissance mandore technique was quite similar to renaissance lute and fingers were in used, not plectrum. What's your suggestions about 18 century? Could I use fingers or have to play with plectrum? And the last, do you know who can built such a thing? And any other information is very appreciated! Greetings from St.Petersburg, Konstantin -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Frescobaldi lute transcription
Thank you, Ed! Really, it do cost me many efforts! But my long fingers helped me in this job. 2013/5/10 Ed Durbrow [1]edurb...@gmail.com You make it sound easy, but watching your fingers I can see stretches that would be very difficult for me to pull off. Well done! On May 10, 2013, at 6:09 AM, Konstantin Shchenikov [2]konstantin.n...@gmail.com wrote: Dear friends! I have transcribed Aria detta la Frescobalda for archlute. I am interested at your opinion, thoughts and comments. Any criticism of transcription or of playing are welcome! Any responce will be very appreciated! [1][3]http://youtu.be/InSbiGcUp34 Greetings from St Petersburg, Russia Best regards Konstantin -- References 1. [4]http://youtu.be/InSbiGcUp34 To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Ed Durbrow Saitama, Japan [6]http://www.youtube.com/user/edurbrow?feature=watch [7]http://www9.plala.or.jp/edurbrow/ -- References 1. mailto:edurb...@gmail.com 2. mailto:konstantin.n...@gmail.com 3. http://youtu.be/InSbiGcUp34 4. http://youtu.be/InSbiGcUp34 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.youtube.com/user/edurbrow?feature=watch 7. http://www9.plala.or.jp/edurbrow/
[LUTE] Flamenco spagnoletta
Hello, friends! We had a funny experience. Made Spagnoletta by Caroso more spanish. We know, Caroso is an Italian, it's just like joke.)) [1]http://www.youtube.com/watch?v=wklbm8GJlVAfeature=plcp What do you think about it? Here is other videos from the concert. I am interested by your opinions and waiting for criticism)) G. Capsberger Canario [2]http://www.youtube.com/watch?v=LCu7LX8kfcc G. Sanz Canario [3]http://www.youtube.com/watch?vAsrp1KDaK8 G. Sanz, Paradetas S de Murcia Canario [4]http://www.youtube.com/watch?vfrdwWyGwg -- References 1. http://www.youtube.com/watch?v=wklbm8GJlVAfeature=plcp 2. http://www.youtube.com/watch?v=LCu7LX8kfcc 3. http://www.youtube.com/watch?v%C3%83srp1KDaK8 4. http://www.youtube.com/watch?vfrdwWyGwg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] My playing
Hi, all! My friends and me have played a concert. Here is songs by John Dowland: http://www.youtube.com/watch?v=hcleEbnXqCM http://www.youtube.com/watch?v=ycL4JaKHY6s http://www.youtube.com/watch?v=1AB54nH3Zac What do you think about it? Articulation of singer is not too foreign? And here is suite by de Visee (Pavel Filchenko - viola d'amour and my continuo) http://www.youtube.com/watch?v=_1IKn-Kg4e0 it's my second experience of continuo playing. I need your comments and advices. Waiting for criticism)) Konstantin. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: My playing
Thank you, Ed! Microphone Nady TCM 1050. He stood aside from the camera and we were at same distance from him. In the video, it looks as though the singer closer to the microphone. But it is not. 07.06.2011, в 18:11, Ed Durbrow написал(а): I like the quality of your friend's voice. I think it fits this music well. He looks to be actually closer to the mic than you so he must be singing very quietly because he did not overpower. What is that mic? Is that an Octava? Very warm. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
