[LUTE] Re: Gautier in viel ton
... And Lenclos, Old Gaultier friend
Envoyé depuis mon appareil Samsung
Message d'origine
De : Rainer
Date : 10/02/2017 9:45 PM (GMT+01:00)
à : Lute net
Objet : [LUTE] Re: Gautier in viel ton
On 10.02.2017 19:06, Ron Andrico wrote:
>Hello Göran:
>
> From every indication, Jacques was a murderer..
as Jonson (sort of), Gesualdo and Caravaggio :)
Rainer
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[LUTE] Re: Aquila Loaded Nylgut sustain
Dear Mimmo,
No problem at all about the duration of sound with your strings. I
agree with Bruno Cognyl-Fournier : we are all very grateful - or we
should be - for your brilliant a d continuous efforts to improve the
quality of synthetic strings and the discussion about Mersenne and all
that is only a way to satisfy our scholarly egos ð! But please keep up
the good work and thank you again for everything you do to help us
pluckers to improve our performances of early music!
Best wishes da Francia,
Jean-Marie
Message d'origine
De : Mimmo Peruffo
Date : 09/01/2017 6:33 PM (GMT+01:00)
à : lute@cs.dartmouth.edu
Objet : [LUTE] Re: Aquila Loaded Nylgut sustain
maybe it is better to give you guys a few more informations:
yes, I am out of stock due to some problems: the first one is that
the
plastic blend nd copper powder changes some behaviours. This is
common
when one exstrude plastics. I worked hard to understand why in
these
15 days and then when I was able to realize why, guess that? The
extruder broke the gear pump! heck. Just yesterday (yes, Sunday) I
was in condition to find another way that is working pretty good
but... my co-worker at the extruder right now has flu! another
stopah ah. Do not worry: tomorrow I will do this job alone.
their
lifetime? I think that they last forever. I am sorry, the sound do
not
last 20 seconds
From: [1]Bruno Cognyl-Fournier
Sent: Monday, January 09, 2017 6:02 PM
To: [2]Dan Winheld
Cc: [3]Anthony Hind ; [4]Matthew Daillie ; [5]Mimmo Peruffo ; [6]Rob
MacKillop ; [7]Lute List
Subject: Re: [LUTE] Re: Aquila Loaded Nylgut sustain
and my guess is that these strings may last forever..
Bruno
2017-01-09 11:56 GMT-05:00 Dan Winheld <[8]dwinh...@lmi.net>:
Fascinating thread! I am delighted that after over 40 years in the
lute "business" (even mostly amateur) that good bass strings may
be
emerging as an obtainable, affordable, predictable, and PRACTICAL
reality. Mimmo Peruffo is to be congratulated for all his work
over
all these years.
Now, can anyone tell me if the new basses are now available in
the
U.S?
Thank you all-
To get on or off this list see list information at
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--
References
1. mailto:fournier...@gmail.com
2. mailto:dwinh...@lmi.net
3. mailto:agno3ph...@cs.dartmouth.edu
4. mailto:dail...@club-internet.fr
5. mailto:mperu...@aquilacorde.com
6. mailto:robmackil...@gmail.com
7. mailto:lute@cs.dartmouth.edu
8. mailto:dwinh...@lmi.net
9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: What if I seek for love
... Or Ed you can print it as a pdf and everybody can open it ð!
Envoyé depuis mon appareil Samsung
Message d'origine
De : Edward Martin
Date : 06/01/2017 1:01 PM (GMT+01:00)
à : Gert de Vries
Cc : lute net
Objet : [LUTE] Re: What if I seek for love
--001a114812f25f888505456bc7c5
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: quoted-printable
I have it in Fronimo. If you do not have Fronimo, you can download the
demo version, in which you will be able to open files, but you must
have
windows to use the program.
http://www.theaterofmusic.com/fronimo/
ed
On Fri, Jan 6, 2017 at 5:04 AM, Gert de Vries
wrote:
> Dear All,
>
> I'm looking for "What if I seek for love of thee" by Robert Jones. I
can't
> find it anywhere online.
> Anyone who can help me out?
>
> Thanks,
>
> Gert
>
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
--001a114812f25f888505456bc7c5
Content-Type: text/html; charset=UTF-8
Content-Transfer-Encoding: quoted-printable
I
have it in Fronimo. If you do not have Fronimo, you can download the
demo version, in which you will be able to open files, but you must
have windows to use the program.http://www.theaterofmusic.com/fronimo/;>http://www.theaterofmusic
.com/fronimo/edOn Fri, Jan 6, 2017 at 5:04 AM, Gert de Vries mailto:desge...@xs4all.nl;
target="_blank">desge...@xs4all.nl wrote:Dear
All,
I'm looking for "What if I seek for love of thee" by Robert Jones. I
can't find it anywhere online.
Anyone who can help me out?
Thanks,
Gert
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rel="noreferrer"
target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.
html
--001a114812f25f888505456bc7c5--
--
[LUTE] RE : Theorbo and baroque guitar played by Miguel Rincón
Highly recommended indeed !
Best,
Jean-Marie Poirier
Envoyé depuis mon appareil Samsung
Message d'origine
De : David Morales
Date : 13/10/2016 9:28 AM (GMT+01:00)
à : List LUTELIST
Objet : [LUTE] Theorbo and baroque guitar played by Miguel Rincón
Dear lute friends,
Let me share with you two great videos:
[1]https://vimeo.com/186238735
[2]https://vimeo.com/186238734
Regards.
--
Cuerdas Pulsadas
[3]www.cuerdaspulsadas.com || [4]h...@cuerdaspulsadas.com
[5]BLOG || [6]AGENDA || [7]TIMELINE
[8]blog [9]facebook [10]twitter [11]instagram
--
References
1. https://vimeo.com/186238735
2. https://vimeo.com/186238734
3. http://www.cuerdaspulsadas.com/
4. mailto:h...@cuerdaspulsadas.com
5. http://www.cuerdaspulsadas.es/blog
6. http://cuerdaspulsadas.es/blog/agenda/
7. http://www.cuerdaspulsadas.com/timeline
8. http://.cuerdaspulsadas.com/blog
9. http://www.facebook.com/cuerdaspulsadas
10. http://www.twitter.com/cuerdaspulsadas
11. http://www.instagram.com/cuerdaspulsadas
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[LUTE] Re: Vivaldi lute concerto
So do I ! Well done Diego !
Jean-Marie
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Message d'origine
De : JarosÅaw Lipski
Date : 11/10/2016 2:31 PM (GMT+01:00)
à : lute@cs.dartmouth.edu
Objet : [LUTE] Re: Vivaldi lute concerto
Very nicely played Diego, with taste. I like your version. My
congratulations ;)
JL
> On 11 Oct 2016, at 09:10, Diego Cantalupi wrote:
>
> Here's my version:
>
> https://youtu.be/dkPp4pDWGQI
>
> I used an 'ordinary' archlute. In my opinion there are no problems
about single or double strings, but mainly about good taste and
esthetic.
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Facsimile of the Add MS 31992
I'm afraid not ! But there a lots of examples ans valyable commentaries
in the body of the thesis. Really worth reading !
Best?
Jean-Marie
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Message d'origine
De : "G. C." <kalei...@gmail.com>
Date : 02/10/2016 12:34 PM (GMT+01:00)
à : jmpoirier2 <jmpoiri...@wanadoo.fr>
Cc : lute@cs.dartmouth.edu
Objet : Re: [LUTE] Re: Facsimile of the Add MS 31992
Dear Jean Marie,
do you know if part II of the thesis with the musical examples is
available?
Regards
G.
On Sun, Oct 2, 2016 at 11:49 AM, jmpoirier2 <[1]jmpoiri...@wanadoo.fr>
wrote:
Thanks David ! You will certainly find it interesting to give a
look at
my good friend Hector Sequera's thesis on this repertoire
available
online at the link below :
[1][2]https://www.google.fr/url?q=http://etheses.bham.ac.uk/
1028/1/Sequera
10PhD1.pdf=U
hUKEwiq49TT6rvPAhXIWRoKHSaiDT04ChAWCBgwBg�
QjCNEcuWhzAfyuq9MpYwGHoGD
H5xrCXQ
Best,
Jean-Marie Poirier
Envoyé depuis mon appareil Samsung
Message d'origine
De : David Smith <[2][3]d...@dolcesfogato.com>
Date : [3]02/10/2016 5:13 AM (GMT+[4]01:00)
à : Matteo Turri <[5][4]matteo.o.tu...@gmail.com>,
[6][5]lute@cs.dartmouth.edu
Objet : [LUTE] Re: Facsimile of the Add MS 31992
I have downloaded images and put a PDF of the files on
[7][6]http://www.dolcesfogato.com/Music/ as British Library MS
31992.
Please take a look. It was a bit of work to get the images in
high
enough resolution to be clean.
Regards
David
-Original Message-
From: [8][7]lute-...@cs.dartmouth.edu
[mailto:[9][8]lute-...@cs.dartmouth.edu] On Behalf Of Matteo
Turri
Sent: [10]Tuesday, September 27, 2016 11:05 AM
To: [11][9]lute@cs.dartmouth.edu
Subject: [LUTE] Facsimile of the Add MS 31992
aa
Facsimile of the Add MS 31992 at the BL:
[1][12][10]http://www.bl.uk/manuscripts/FullDisplay.aspx?
index=2=
Add_MS_31992
"SACRED and other music, in lute notation, chiefly by William
Byrd.
Other composers are Thomas Tallis, Nicholas Strogers, William
Damon,
Filippo de Monte, Ludovico Vittoria, Thomas Crequillon,
Giacches de
Wert, George Formellis, and Francesco de Rivolo. Paper; ff.
99. End
of
XVIth or begiining of XVIIth cent. In the original binding on
which
is
stamped the name of Edwardus Paston. See another MS. in the
same
hand,
Add. 29,246. Oblate Quarto. "
--
References
1.
[13][11]http://www.bl.uk/manuscripts/FullDisplay.aspx?
index=2�d_MS_3199
2
To get on or off this list see list information at
[14][12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Envoyé depuis mon appareil Samsung
Message d'origine
De : David Smith <[13]d...@dolcesfogato.com>
Date : 02/10/2016 5:13 AM (GMT+01:00)
à : Matteo Turri <[14]matteo.o.tu...@gmail.com>,
[15]lute@cs.dartmouth.edu
Objet : [LUTE] Re: Facsimile of the Add MS 31992
I have downloaded images and put a PDF of the files on
[16]http://www.dolcesfogato.com/Music/ as British Library MS 31992.
Please take a look. It was a bit of work to get the images in high
enough resolution to be clean.
Regards
David
-Original Message-
From: [17]lute-...@cs.dartmouth.edu
[mailto:[18]lute-...@cs.dartmouth.edu] On
Behalf Of Matteo Turri
Sent: Tuesday, September 27, 2016 11:05 AM
To: [19]lute@cs.dartmouth.edu
Subject: [LUTE] Facsimile of the Add MS 31992
aa
Facsimile of the Add MS 31992 at the BL:
[1][20]http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2=
Add_MS_31992
"SACRED and other music, in lute notation, chiefly by William
Byrd.
Other composers are Thomas Tallis, Nicholas Strogers, William
Damon,
Filippo de Monte, Ludovico Vittoria, Thomas Crequillon, Giacches
de
Wert, George Formellis, and Francesco de Rivolo. Paper; ff. 99.
End
of
XVIth or begiining of XVIIth cent. In the original binding on
which
is
stamped the name of Edwardus Paston. See another MS. in the same
hand,
Add. 29,246. Oblate Quarto. "
--
References
1.
[21]http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2�
d_MS_31992
To get on or off this list see list information at
[22]http://www.cs.dartmouth.edu/~wbc/lute-admin/in
[LUTE] Re: Facsimile of the Add MS 31992
Here's a better link to Hector's thesis : http://tinyurl.com/zh9ra46 Best, Jean-Marie Envoyé depuis mon appareil Samsung To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Facsimile of the Add MS 31992
Thanks David ! You will certainly find it interesting to give a look at
my good friend Hector Sequera's thesis on this repertoire available
online at the link below :
[1]https://www.google.fr/url?q=http://etheses.bham.ac.uk/1028/1/Sequera
10PhD1.pdf=U
hUKEwiq49TT6rvPAhXIWRoKHSaiDT04ChAWCBgwBg�QjCNEcuWhzAfyuq9MpYwGHoGD
H5xrCXQ
Best,
Jean-Marie Poirier
Envoyé depuis mon appareil Samsung
Message d'origine
De : David Smith <[2]d...@dolcesfogato.com>
Date : [3]02/10/2016 5:13 AM (GMT+[4]01:00)
à : Matteo Turri <[5]matteo.o.tu...@gmail.com>,
[6]lute@cs.dartmouth.edu
Objet : [LUTE] Re: Facsimile of the Add MS 31992
I have downloaded images and put a PDF of the files on
[7]http://www.dolcesfogato.com/Music/ as British Library MS 31992.
Please take a look. It was a bit of work to get the images in high
enough resolution to be clean.
Regards
David
-Original Message-
From: [8]lute-...@cs.dartmouth.edu
[mailto:[9]lute-...@cs.dartmouth.edu] On Behalf Of Matteo Turri
Sent: [10]Tuesday, September 27, 2016 11:05 AM
To: [11]lute@cs.dartmouth.edu
Subject: [LUTE] Facsimile of the Add MS 31992
aa
Facsimile of the Add MS 31992 at the BL:
[1][12]http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2=
Add_MS_31992
"SACRED and other music, in lute notation, chiefly by William Byrd.
Other composers are Thomas Tallis, Nicholas Strogers, William Damon,
Filippo de Monte, Ludovico Vittoria, Thomas Crequillon, Giacches de
Wert, George Formellis, and Francesco de Rivolo. Paper; ff. 99. End
of
XVIth or begiining of XVIIth cent. In the original binding on which
is
stamped the name of Edwardus Paston. See another MS. in the same
hand,
Add. 29,246. Oblate Quarto. "
--
References
1.
[13]http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2�d_MS_3199
2
To get on or off this list see list information at
[14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Envoyé depuis mon appareil Samsung
Message d'origine
De : David Smith
Date : 02/10/2016 5:13 AM (GMT+01:00)
à : Matteo Turri , lute@cs.dartmouth.edu
Objet : [LUTE] Re: Facsimile of the Add MS 31992
I have downloaded images and put a PDF of the files on
http://www.dolcesfogato.com/Music/ as British Library MS 31992.
Please take a look. It was a bit of work to get the images in high
enough resolution to be clean.
Regards
David
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Matteo Turri
Sent: Tuesday, September 27, 2016 11:05 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Facsimile of the Add MS 31992
aa
Facsimile of the Add MS 31992 at the BL:
[1]http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2=
Add_MS_31992
"SACRED and other music, in lute notation, chiefly by William Byrd.
Other composers are Thomas Tallis, Nicholas Strogers, William Damon,
Filippo de Monte, Ludovico Vittoria, Thomas Crequillon, Giacches de
Wert, George Formellis, and Francesco de Rivolo. Paper; ff. 99. End
of
XVIth or begiining of XVIIth cent. In the original binding on which
is
stamped the name of Edwardus Paston. See another MS. in the same
hand,
Add. 29,246. Oblate Quarto. "
--
References
1.
http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2�d_MS_31992
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
References
1.
https://www.google.fr/url?q=http://etheses.bham.ac.uk/1028/1/Sequera10PhD1.pdf=U�QjCNEcuWhzAfyuq9MpYwGHoGDH5xrCXQ
2. mailto:d...@dolcesfogato.com
3. calendar:T7:02/10/2016 5:13 AM
4. calendar:T1:01:00
5. mailto:matteo.o.tu...@gmail.com
6. mailto:lute@cs.dartmouth.edu
7. http://www.dolcesfogato.com/Music
8. mailto:lute-...@cs.dartmouth.edu
9. mailto:lute-...@cs.dartmouth.edu
10. calendar:T7:Tuesday, September 27, 2016 11:05 AM
11. mailto:lute@cs.dartmouth.edu
12. http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2
13. http://www.bl.uk/manuscripts/FullDisplay.aspx?index=2�d_MS_31992
14. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Arnolt Schlick
Hi Susanne,
You will find what you need there :
http://gerbode.net/composers/Schlick/
Best wishes,
Jean-Marie
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Message d'origine
De : Susanne Herre
Date : 29/04/2016 10:53 PM (GMT+01:00)
A : Lute List
Objet : [LUTE] Arnolt Schlick
Dear lute friends,
Would someone know where to find some pieces by Arnolt Schlick in
French tablature?
Schlick, Arnolt. Tabulaturen Etlicher lobgesang und lidlein uff die
orgeln und lauten [...]. Mainz: Peter Schoeffer 1512
Thanks a lot for any help,
Susanne
--
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Another lute picture?
Interesting picture indeed David ! Thank you for sharing.
Is it the fact that the young lady plays left-handed that fosters
Martyn's ironical approavh to this nice painting ???
I hope not ! ;-)
Best wishes to all,
Jean-Marie
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Message d'origine
De : Martyn Hodgson
Date : 24/11/2015 12:14 (GMT+01:00)
A : David Van Edwards , lute@cs.dartmouth.edu
Objet : [LUTE] Re: Another lute picture?
Very interesting David.
It may be simply a fashionable couple wanting to be portrayed
performing but in fact unable to play a note! Perhaps the painter
who,
as you point out, might be thought to have known better was laughing
up
his sleeve...
Or perhaps, and maybe more likely (the painter might not have wished
to
be later seen to make fools of his rich clients), they had insisted
on
this sort of pose (it certainly looks very stylised especially with
the
young lady's eyes turned to heaven etc) and their insistence
overcame
any scruples the painter may have expressed about depicting them
actually playing. In short, the very act of posing for the picture
was
the statement rather than the playing of music.
regards
Martyn
__
From: David Van Edwards
To: lute@cs.dartmouth.edu
Sent: Tuesday, 24 November 2015, 10:50
Subject: [LUTE] Another lute picture?
Dear All,
My Lute of the Month series has dwindled to lute of the Year these
days! It's because I've mainly been writng them for the Lute
Society's
newsletter, Lute News, now it has a nice full colour cover.
But here is the latest, as it were more public, example up on the
web
at
[1]http://www.vanedwards.co.uk/month/Nov%2015/month.htm
I hope you find it fun! As usual please email me any corrections
or
comments
Best wishes,
David
--
The Smokehouse,
6 Whitwell Road,
Norwich, NR1 4HB
England.
Telephone: + 44 (0)1603 629899
Website: [2]http://www.vanedwards.co.uk
--
To get on or off this list see list information at
[3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. http://www.vanedwards.co.uk/month/Nov%2015/month.htm
2. http://www.vanedwards.co.uk/
3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Thumb-over
Please have a look at this page I put up a couple of years ago...
http://le.luth.free.fr/pouce/index.html
Best to all,
Jean-Marie
Message d'origine
De : jelmaa
Date : 01/10/2015 23:50 (GMT+01:00)
A : lutelist Net
Objet : [LUTE] Re: Thumb-over
I think the terms 'common' and 'replete' are very exaggerated for 19th
century guitar repertoire. The LH thumb is used occasionally, but
almost only in Viennese/Austrian solo repertoire, not in French or
Spanish music. For it to work you need a guitar with a very thin neck,
and it still messes up your left hand technique (in my experience,
playing on original 19th C French & Viennese guitars).
Jelma van Amersfoort
On Oct 1, 2015, at 22:43 , G. C. wrote:
> Hey Chris, that's really interesting. So the 19th century
repertoire is
> replete with this technique? I'm surprized and feel there is much
to
> this matter, which hasn't been thoroughly analyzed yet. :) G.
>
> On Thu, Oct 1, 2015 at 6:28 PM, Christopher Wilke
> <[1]chriswi...@cs.dartmouth.edu> wrote:
>
>The technique was common in 19th century guitar playing, where
it
> was
>often marked with a "^". It does have some advantages and
there
> are
>spots where it facilitates fewer chord shape changes. In that
>repertoire, I haven't encountered any pieces that I absolutely
> couldn't
>finger without the thumb over the neck. (I did, however,
perform
> one
>contemporary piece in which the only way I could figure out
how
> to get
>a particular combination of notes was to use the left hand
thumb.
> This
>was not due to cleverness on the composer's part, but rather
> because he
>wasn't a guitarist at all.)
>I suspect that some lute players did this and some avoided it.
> There
>might be the odd piece that absolutely requires it. There also
> might be
>some performance practice insights one could gain from
> experimenting
>with it, but due to the risk of wrist injury, I'd be hesitant
to
> make a
>regular practice of using it all the time. Even in the 19th
> century, it
>wasn't universal. Sor, for one, disapproved of it.
>Chris
>[1]Sent from Yahoo Mail for iPhone
> On Oct 1, 2015, 12:01:01 PM, G. C. wrote:
>One obscure feature of plucking which has always fascinated
but
> eluded
>me is the technique of using also the thumb to play on the
lower
>strings. Supposedly mainly feasible on 6 course instruments
and a
>narrow neck, it has apparently been in vogue and an open
"secret"
> for
>the initiated since the days of Francesco at least (see famous
> painting
>by Giulio Campi on the cover of Doug's History of the Lute if
it
> indeed
>depicts such a practice). I know that it is very common in
Rock,
> (where
>its so widespread, that it has to be meaningful somehow). To
me,
>(classically trained), it looks bizarre, and more like someone
> has
>learned to play the wrong way. But it has to have at least
some
>advantages, as it seems to be so popular (at least among the
rock
> music
>pluckers). Not only for barrA", particularly chords where the
> index
>presses on a fret in front of the fret that the thumb is
stopping
> look
>bewildering. Might there be an ergonomic/finger mechanical
> reason?
>(Concert playing for hours so thereby avoiding carpal tunnel
> syndrome?)
>Is there someone here who could explain the inner workings
and/or
>advantages of this technique in a simple way or point to a
> website, are
>there any uses for it in lute-playing (skewed barrA"?), and
does
> the
>practice have a consensus name?
>Best regards
>G
>--
>To get on or off this list see list information at
>[2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> References
>1. [3]https://yho.com/footer0
>2. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
> --
>
> References
>
> 1. mailto:chriswi...@cs.dartmouth.edu
> 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
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[LUTE] Re: Addendum
A great thank you to Wayne for his wonderful contribution and support
to the life of our little lute community. I have been on the list for
ages and hope it will go on just the same !
All my best wishes,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Sean Smith lutesm...@mac.com
Date : 22/07/2015 07:07 (GMT+01:00)
A : lute@cs.dartmouth.edu
Objet : [LUTE] Re: Addendum
Hi Ron,
I didn't mean to troll you. I see the differences in the situations.
Yes, this list is a good thing and if the kindness of certain
individuals pre-empts a predatory practice _and_ supports a great
thing like world-wide lutey friendship then something is right in this
corner of the world.
Sean
On Jul 21, 2015, at 10:55 AM, Ron Andrico wrote:
Indeed, Ron, many thanks from all of us. I wasn't here for its
genesis but it has been a daily part of my life since about 2000.
Amazing to think how much I've learned and all the people I've met!
Thanks go to Wayne, of course
ps Are we depriving a commercial listserver a living by flocking to
this free daily concert of commentary?
Now Sean, you should know better than bait the grump. Wrong forum.
Wrong context.
RA
On Jul 21, 2015, at 9:39 AM, Ron Andrico wrote:
I feel the need to add a clarifying remark my statement that when a
service is free then YOU are the product.
This discussion list, hosted by Wayne Cripps and his servers, is in
fact a freely available service that does not, to my knowledge, mine
personal information from its users.
It's been a while since we all thanked Wayne publicly for providing
this forum, and for taking steps to protect its users. The lute-list
is a much appreciated remnant of old-school egalitarianism.
Thanks, Wayne.
RA
Date: Tue, 21 Jul 2015 14:58:03 +
To: edurb...@sea.plala.or.jp; dwinh...@lmi.net
CC: lute@cs.dartmouth.edu
From: praelu...@hotmail.com
Subject: [LUTE] Re: xx problem
Ed, you'll recall that I made the suggestion off-list, and that I
qualified the suggestion with the statement that I do NOT use the
data-mining service. As far as I can tell, any positive uses the
service may have had are negated by the nature and quantity of
personal
information it robs from public interactions and private mail
accounts. As usual, when a service is free then YOU are the
product.
RA
Date: Tue, 21 Jul 2015 23:28:39 +0900
To: dwinh...@lmi.net
CC: lute@cs.dartmouth.edu
From: edurb...@sea.plala.or.jp
Subject: [LUTE] Re: xx problem
x seems to be a fairly useless thing for me. The main use Ive
made of it is to grab friends pictures to put in my address book. I
never endorse people anymore because then I just get bothered by
more
and more messages. However, I did reach Terry through x sparked
by Rons suggestion.
On Jul 21, 2015, at 11:08 AM, Dan Winheld dwinh...@lmi.net
wrote:
To Terry Schumacher and anyone else on xx-
I no longer have an account on x. Please stop x (if
possible) from bothering me with contact/endorsement other
requests.
Nothing personal, hostile, reclusive or anything; I just no longer
have
an account with x- it provides nothing of any personal or
professional use to me. I can always be contacted through this
elist
if
you do not have my personal email address.
Thanks,
Dan
x
--
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--
[LUTE] Re: Paduane in Triple Time
Countersigh. I simply meant that French Pavanes are very consistently
in duple time. Sorry about that but it's a fact ; whereas some spanish
Pavanas (e.g Milan, Pisador) are in triple time and are more
reminiscent of Italian Padovane or Paduane, hence my in disguise
implication. Full stop. No big deal here ;-) !
Best,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Ron Andrico praelu...@hotmail.com
Date : 05/07/2015 14:33 (GMT+01:00)
A : Jean-Marie Poirier jmpoiri...@wanadoo.fr, howard posner
howardpos...@ca.rr.com, lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
Sigh. There is no disguise. Spanish, Italian, French, or English;
Pavanas, Pavannes, Pavins and Paduanas are all the same thing.
Inconsistent orthography is a charming characteristic of the past
and
an unfortunate feature of the present.
RA
Date: Sun, 5 Jul 2015 05:09:06 +0200
To: howardpos...@ca.rr.com; lute@cs.dartmouth.edu
From: jmpoiri...@wanadoo.fr
Subject: [LUTE] Re: Paduane in Triple Time
True. Pavanas as Paduanas in disguise seem to have been a Spanish
speciality...
Envoye depuis mon appareil Samsung
Message d'origine
De : howard posner howardpos...@ca.rr.com
Date : 05/07/2015 00:10 (GMT+01:00)
A : Lute List lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
On Jul 4, 2015, at 11:00 AM, jmpoirier2 jmpoiri...@wanadoo.fr
wrote:
Sure, but I can't remember pieces called Pavanes notated or
played
in
triple time...
You'll remember two obvious examples once someone mentions them:
the
sixth of Milan's pavanas, on page 82 of El Maestro (the 82nd page
of
my
pdf version, anyway), and the Pavana my llana para taner on
folio
of Pisador's book, which is barred in two but played in
three,
and
is known in other sources as the galliard La Gamba.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
[LUTE] Re: Paduane in Triple Time
Pas de problemes en ce qui me concerne ;-) .!
Amicalement,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Ron Andrico praelu...@hotmail.com
Date : 05/07/2015 16:01 (GMT+01:00)
A : Jean-Marie Poirier jmpoiri...@wanadoo.fr, howard posner
howardpos...@ca.rr.com, lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
So, we are assuming that the earliest French publication of dance
music
for the lute is an anomaly? Was the triple-time Pavanne in
Attaignant
inserted into the publication by his (Spanish) enemies?
I agree this issue is trifling, but Edward's original question
wanted a
more contextual answer.
Best,
RA
Date: Sun, 5 Jul 2015 14:56:52 +0200
To: praelu...@hotmail.com; howardpos...@ca.rr.com;
lute@cs.dartmouth.edu
From: jmpoiri...@wanadoo.fr
Subject: [LUTE] Re: Paduane in Triple Time
Countersigh. I simply meant that French Pavanes are very
consistently
in duple time. Sorry about that but it's a fact ; whereas some
spanish
Pavanas (e.g Milan, Pisador) are in triple time and are more
reminiscent of Italian Padovane or Paduane, hence my in disguise
implication. Full stop. No big deal here ;-) !
Best,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Ron Andrico praelu...@hotmail.com
Date : 05/07/2015 14:33 (GMT+01:00)
A : Jean-Marie Poirier jmpoiri...@wanadoo.fr, howard posner
howardpos...@ca.rr.com, lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
Sigh. There is no disguise. Spanish, Italian, French, or English;
Pavanas, Pavannes, Pavins and Paduanas are all the same thing.
Inconsistent orthography is a charming characteristic of the past
and
an unfortunate feature of the present.
RA
Date: Sun, 5 Jul 2015 05:09:06 +0200
To: howardpos...@ca.rr.com; lute@cs.dartmouth.edu
From: jmpoiri...@wanadoo.fr
Subject: [LUTE] Re: Paduane in Triple Time
True. Pavanas as Paduanas in disguise seem to have been a
Spanish
speciality...
Envoye depuis mon appareil Samsung
Message d'origine
De : howard posner howardpos...@ca.rr.com
Date : 05/07/2015 00:10 (GMT+01:00)
A : Lute List lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
On Jul 4, 2015, at 11:00 AM, jmpoirier2
jmpoiri...@wanadoo.fr
wrote:
Sure, but I can't remember pieces called Pavanes notated or
played
in
triple time...
You'll remember two obvious examples once someone mentions them:
the
sixth of Milan's pavanas, on page 82 of El Maestro (the 82nd
page
of
my
pdf version, anyway), and the Pavana my llana para taner on
folio
of Pisador's book, which is barred in two but played in
three,
and
is known in other sources as the galliard La Gamba.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
--
[LUTE] Re: Paduane in Triple Time
Sure, but I can't remember pieces called Pavanes notated or played in
triple time...
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Miles Dempster miles.demps...@gmail.com
Date : 04/07/2015 19:49 (GMT+01:00)
A : Lute List lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
Perhaps there are two distinct dances whose names sometimes merge:
1. Pavane: From the word 'pavo' meaning peacock. This would suggest a
stately dance (duple time).
2. Paduan: From 'Padua (triple time)
Miles
On Jul 4, 2015, at 9:34 AM, Edward Chrysogonus Yong
edward.y...@gmail.com wrote:
Dear Collective Wisdom,
I'm working on 'Une m'avoit promis' from Le Roy's Second Book for
guitar, and rather puzzled. It's marked as 'Paduane' but has a 3, and
is barred as three beats to the bar. Aren't pavanes always in duple
time?
Confused,
Edward
tou%to ylektroniko'n taxudromei'on ek ei'Fwnou emeu% epe'mfthy.
Hae litterae electronicae ab iPhono missae sunt.
iPhone._
This e-mail was sent from my iPhone.
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[LUTE] Re: Paduane in Triple Time
Isn't 3/8 considered triple time...?
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Sean Smith lutesm...@mac.com
Date : 04/07/2015 18:45 (GMT+01:00)
A : lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
This song/dance is more a brawl in 3/8.
It's got plenty of verses so it invites a bit of variation. Here's the
Baltimore Consort rising to the occasion.
https://youtu.be/EBC9ldiS2oM
Sean
On Jul 4, 2015, at 9:10 AM, Stephen Fryer wrote:
On 04/07/2015 6:34 AM, Edward Chrysogonus Yong wrote:
I'm working on 'Une m'avoit promis' from Le Roy's Second Book for
guitar, and rather puzzled. It's marked as 'Paduane' but has a 3, and
is barred as three beats to the bar. Aren't pavanes always in duple
time?
Confused,
Edward
Possibly parallel to marches in 3/4 time?
Stephen Fryer
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[LUTE] Re: Paduane in Triple Time
There are some Paduanas in Luys Milan written in C but obviously to be
played in triple time... Something like French gigues written in duple
time but mostly played in triple time.
Best to all,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Bernd Haegemann b...@symbol4.de
Date : 04/07/2015 18:04 (GMT+01:00)
A : Valery SAUVAGE sauvag...@orange.fr, Edward Chrysogonus Yong
edward.y...@gmail.com, Lute List lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
There are paduane / padovane etc. examples of the type PAVAN (duple
time), and there are those others which are in triple time and the
first
dance after the passemezzo. One should go to Padova and ask the mayor.
Grove mentions that - in contrast to the Pavan type - there is no
preserved choreography for the padovana in triple meter.
With a temperature of 34 degrees in Brussels the pavan ist the only
survivable dance for the moment :-)
On 04.07.2015 17:06, Valery SAUVAGE wrote:
For what I know Paduana means a dance from Padua (Italian city)
and is
not a pavana but a triple meter dance.
(But I don(t know how to dance it)
V.
Message du 04/07/15 15:37
De : Edward Chrysogonus Yong edward.y...@gmail.com
A : Lute List lute@cs.dartmouth.edu
Copie A :
Objet : [LUTE] Paduane in Triple Time
Dear Collective Wisdom,
I'm working on 'Une m'avoit promis' from Le Roy's Second Book
for
guitar, and rather puzzled. It's marked as 'Paduane' but has a
3,
and is barred as three beats to the bar. Aren't pavanes always
in
duple time?
Confused,
Edward
II?III? I.IIuI-oIII?I 1/2I^1I-oII 1/2 II+-III'II?I
1/4IuI-I?I
1/2 IuI-o IuI-I|II 1/2I?I IuI 1/4IuI IuIII 1/4II,I..
HA| litterA| electronicA| ab iPhono missA| sunt.
aeCUReaaeuaeP:c, 1/4eae-oe-aaa 3/4iPhonea
This e-mail was sent from my iPhone.
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[LUTE] Re: Paduane in Triple Time
True. Pavanas as Paduanas in disguise seem to have been a Spanish
speciality...
Envoye depuis mon appareil Samsung
Message d'origine
De : howard posner howardpos...@ca.rr.com
Date : 05/07/2015 00:10 (GMT+01:00)
A : Lute List lute@cs.dartmouth.edu
Objet : [LUTE] Re: Paduane in Triple Time
On Jul 4, 2015, at 11:00 AM, jmpoirier2 jmpoiri...@wanadoo.fr
wrote:
Sure, but I can't remember pieces called Pavanes notated or played
in
triple time...
You'll remember two obvious examples once someone mentions them: the
sixth of Milan's pavanas, on page 82 of El Maestro (the 82nd page of my
pdf version, anyway), and the Pavana my llana para taner on folio
of Pisador's book, which is barred in two but played in three, and
is known in other sources as the galliard La Gamba.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Verdelot
Excellent edition by the way !
Best to all,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Hector Sequera hectorl...@mac.com
Date : 30/06/2015 09:35 (GMT+01:00)
A : lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Objet : [LUTE] Re: Verdelot
Dear Benjamin,
London Pro Musica has an edition of 22 of the madrigals (the ones
intabulated in Venice, 1536). Just search their catalogue for the
following:
MA3 PHILIPPE VERDELOT, Twenty-two Madrigals, for four voices or
instruments. This volume contains all the pieces that appeared arranged
for lute in the Intavolatura de li Madrigali di Verdelotto da cantare
et sonare nel lauto (Venice, 1536), which is published complete in our
RM3. Verdelot was much respected during his lifetime for his ability to
express the different moods of his texts, and so it is no surprise to
find here an outstanding collection of highly varied pieces. Score only
-L-8.50
RM3 Intavolatura de li Madrigali di Verdelotto (1536) for voice and
lute. This important collection contains twenty-two of Verdelot's most
exquisite madrigals arranged fastidiously for voice and lute. It is
fact the only surviving publication of its kind, and fills a huge hole
in the repertoire for voice and lute. The original four-part versions
of these madrigals can be found in our MA3; as the two volumes have
been edited in conjunction, it is possible to use the lute part with
the ensemble versions. Score only -L-10.50
All best,
Hector
On 30 Jun 2015, at 08:20, BENJAMIN NARVEY luthi...@gmail.com wrote:
Greetings one, greetings all,
I am wondering if there may not perhaps be a good edition of
Verdelot
madrigals with intabulations for lute?
I have just been contacted for a project, but I don't know the lute
sources (if any) of this repertoire well at all.
Any thoughts?
All best wishes,
Benjamin
--
[1]www.luthiste.com
t +33 (0) 6 71 79 98 98
--
References
1. http://www.luthiste.com/
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Verdelot
Je dirais meme plus : excellente edition :-)!
Envoye depuis mon appareil Samsung
Message d'origine
De : Bruno Cognyl -Fournier fournier...@gmail.com
Date : 30/06/2015 14:09 (GMT+01:00)
A : jmpoirier2 jmpoiri...@wanadoo.fr, Hector Sequera
hectorl...@mac.com, lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Objet : Re: [LUTE] Re: Verdelot
london pro musica edition is excellent
Sent from Samsung Mobile
Original message
From: jmpoirier2
Date:2015-06-30 04:23 (GMT-05:00)
To: Hector Sequera , lute-cs.dartmouth.edu
Subject: [LUTE] Re: Verdelot
Excellent edition by the way !
Best to all,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Hector Sequera hectorl...@mac.com
Date : 30/06/2015 09:35 (GMT+01:00)
A : lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Objet : [LUTE] Re: Verdelot
Dear Benjamin,
London Pro Musica has an edition of 22 of the madrigals (the ones
intabulated in Venice, 1536). Just search their catalogue for the
following:
MA3 PHILIPPE VERDELOT, Twenty-two Madrigals, for four voices or
instruments. This volume contains all the pieces that appeared
arranged
for lute in the Intavolatura de li Madrigali di Verdelotto da
cantare
et sonare nel lauto (Venice, 1536), which is published complete in
our
RM3. Verdelot was much respected during his lifetime for his ability
to
express the different moods of his texts, and so it is no surprise
to
find here an outstanding collection of highly varied pieces. Score
only
-L-8.50
RM3 Intavolatura de li Madrigali di Verdelotto (1536) for voice and
lute. This important collection contains twenty-two of Verdelot's
most
exquisite madrigals arranged fastidiously for voice and lute. It is
fact the only surviving publication of its kind, and fills a huge
hole
in the repertoire for voice and lute. The original four-part
versions
of these madrigals can be found in our MA3; as the two volumes have
been edited in conjunction, it is possible to use the lute part with
the ensemble versions. Score only -L-10.50
All best,
Hector
On 30 Jun 2015, at 08:20, BENJAMIN NARVEY luthi...@gmail.com
wrote:
Greetings one, greetings all,
I am wondering if there may not perhaps be a good edition of
Verdelot
madrigals with intabulations for lute?
I have just been contacted for a project, but I don't know the
lute
sources (if any) of this repertoire well at all.
Any thoughts?
All best wishes,
Benjamin
--
[1]www.luthiste.com
t +33 (0) 6 71 79 98 98
--
References
1. http://www.luthiste.com/
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: a missing saraband
Hello Bernd,
it's funny : I have the same fax copy and I do not play petanque, as
far as I know... ;-)
Amities,
Jean-Marie
Envoye depuis mon appareil Samsung
Message d'origine
De : Bernd Haegemann b...@symbol4.de
Date : 29/06/2015 21:05 (GMT+01:00)
A : Thomas Walker twlute...@hotmail.com, lute@cs.dartmouth.edu
Objet : [LUTE] Re: a missing saraband
On 29.06.2015 20:53, Bernd Haegemann wrote:
Dear Thomas,
please find the piece here:
http://www.lute-academy.be/docstore/temp/SARAB_REMAJ_DUFAUT.jpg
It is a fax copy from a microfilm that I won from a descendant of
Dufaut
in a petanque tournament in Saint-Remy-en Bouzemont. So I hope no
copyright violation?
B
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: those sarabands
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[LUTE] Re: those sarabands
Agreed David on the possible variations in the tempo but the scant evidence points towards something rather light and not the heavy pulse of later baroque say from the Versailles period. Early baroque was a different world altogether... Best, Jean-Marie -- Original Message -- From: David Rastall Date: 17/12/2014 17:43 To: Martyn Hodgson; Cc: Lute List; Subject: [LUTE] Re: those sarabands On Dec 17, 2014, at 10:28 AM, Martyn Hodgson wrote: ...are you quite sure that you yourself really intend to say (below) ' wi th no dancers present, I suggest that the player is perfectly free to choose wha tever tempo he wishes'? Of course, a modern player can do what they like: but I think the issue raised was more to do with evidence of historical practice - h ence Thomas Walker's reasonable request for early sources. Yes, certainly a reasonable request. And yes, that is what I intended to say. My response to Thomas Walker's request is: evidence of historical practice woul d most likely take the form of evidence gleaned from dancing masters of how the dance itself was to be done. So...go to the dancing masters for that. As to what I intended to say, just exactly what performance tempo meant to a lon e lutenist in the early 17th century I couldn't say, but I'm sure there was plen ty of variety in the ways dance pieces were interpreted in the absence of any st ructured environment involving dancers. I took the issue raised to be: early sources as a guide to contemporary performance tempi. Hence the reference to a recording by Bailes. I could be completely wrong here; I'm treading on ground I know very little abo ut. But surely dance music is every bit as ambiguous as, say, ricercars and fan tasias. Or was there actually a set tempo for all sarabandes performed between 1610 and 1640? If so, there's the answer to Thomas Walker's question. My thoug ht is that I'm sure there must have been slight variations...and in the absence of metronome markings even the original sources would have been ambiguous on the subject. Davis R Martyn From: David Rastall To: Martyn Hodgson Cc: Ron Andrico ; Thomas Walker ; Lute List Sent: Wednesday, 17 December 2014, 14:48 Subject: [LUTE] Re: those sarabands Ron did not say there was no relationship whatever between playing and danci ng a sarabande. He used the word adapted. Within the parameters of the dance itself, I agree with Ron entirely: yes in answer to MH's question. Given wh at we know about the performance of other dances, for example galliards: defini tely yes. The original question concerned specifically the French school of 1610-1640 and mentions specifically Ballard. During that period sarabandes wer e frequently danced when an entree was called for. Do you have a specific metro nome marking for playing all of Ballard's Entrees? I hope not. The dancing mas ters of the time characterized the sarabande variously as brisk or slow: it can be danced equally well either way, within the floor-plan description of the dan ce itself. It was also considered scandalous. Do you have a tempo for scand alous? There is also some confusion here regarding the execution of sarabandes with o r without dancers present. On stage, with no dancers present, I suggest that th e player is perfectly free to choose whatever tempo he wishes. In his efforts t o preserve an era in which no metronomes existed, I would say that the player is free to play sarabandes as scandalously as he wishes. David R On Dec 17, 2014, at 3:52 AM, Martyn Hodgson wrote: Do you really mean to say that the tempo of a dance played on, say, the lute has no relationship whatsoever to the tempo at which contemporaries actually danced it? MH __ From: Ron Andrico To: Thomas Walker ; lute@cs.dartmouth.edu Sent: Tuesday, 16 December 2014, 20:55 Subject: [LUTE] Re: those sarabands Hello Thomas: A good modernish source of information can be found in D. J. Buch, The Influence of the Ballet de cour in the Genesis of the French Baroque Suite, Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun., 1985), pp. 94-109. The saraband is discussed on page 102. Since so much 17th-century lute music consisted of boiled-down versions of popular dance tunes, it important to know how a particular dance worked in it's original context. Then one has to realize that, since lutes are and were inaudible when dancer's feet scrape the floor, the music is adapted and performed in whatever manner the player wishes. RA Date: Mon, 15 Dec 2014 14:03:13 -0600 To: [1]lute@cs.dartmouth.edu From: [2]twlute...@hotmail.com Subject: [LUTE] those sarabands Greetings all-- I know the sarabande was originally a lively ditty which morphed pretty thoroughly by the late 17th century. I have
[LUTE] Re: those sarabands
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Re: Re: Lute-painting on eBay
I consider this painting on Ebay is just another piece of evidence to demonstrate that left-handed players DID exist and play even the 17th century. Jean-Marie Poirier (another 20th century left-hander) ;-))) (By the way it could be fun to know how many of us play the other way round, just to get rid of all underhand attacks on left-handed playing) I am suspicious. Looks too much like Arto Wikla. RT there is a strange old portrait of a left-handed lute player up for auction at: http://www.stores.ebay.com/id=16216871ssPageName=L2 Amused, Arne.
