[LUTE] Re: Julian Bream on Lute
I wouldn't say that Bream pioneered lute technique as he didn't really
use lute technique. He played a lute shaped guitar like a classical
guitar.
He was very influential to future lute players though, but does
--anyone-- today play a Bream type lute/object with guitar technique?
Susan
Bream is still alive btw
Sent from my Samsung Galaxy smartphone.
Original message
From: Franz Mechsner
Date: 6/18/19 5:13 PM (GMT-07:00)
To: Dan Winheld
Cc: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Julian Bream on Lute
Dear Dan,
Julian Bream actually pioneered lute playing very early. Watch
this beautiful movie on him that makes me smile (lute things come
somewhere in the
middle): [1]https://www.youtube.com/watch?v=MUdunh_wMCI
Warm regards and best
Franz
Dr. Franz Mechsner
Zum Kirschberg 40
D-14806 Belzig OT Borne
+49(0)33841 441362
franz.mechs...@gmx.de
Gesendet: Mittwoch, 19. Juni 2019 um 01:07 Uhr
Von: "Dan Winheld"
An: "Franz Mechsner" , lute@cs.dartmouth.edu
Betreff: Re: [LUTE] Julian Bream on Lute
Nope. Never heard of him.
On 6/18/2019 3:49 PM, Franz Mechsner wrote:
> Dear collective wisdom,
>
> I just heard some pieces played by admired guitarist Julian Bram
on
the
> lute. It seems to me he played kind of classical guitar style on
the
> lute. Strange, but It sounds wonderful to me, not only bold for
the
> time. Does anyone understand how he played the (maybe special)
lute
and
> produced the wonderful sound on a lute admittedly built for him?
>
> Best and curious
> Franz
>
> Dr. Franz Mechsner
> Zum Kirschberg 40
> D-14806 Belzig OT Borne
> +49(0)33841 441362
> franz.mechs...@gmx.de
>
>
> To get on or off this list see list information at
> [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
References
1. https://www.youtube.com/watch?v=MUdunh_wMCI
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: intabulations
I thought recent research said that the lute has a greater repertoire
than any other instrument, with over fifty thousand pieces surviving,
not counting those lost.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: "Edward C. Yong"
Date: 7/29/18 9:25 PM (GMT-07:00)
To: Ed Durbrow
Cc: LuteNet list
Subject: [LUTE] Re: intabulations
< I've heard that outside of the piano and possibly violin there is
more lute music than for any other instrument.>
i'm wondering if 'piano' here includes the harpsichord repertoire. a
fascinating topic to be sure...
On 29 July 2018 at 22:43, Ed Durbrow <[1]edurb...@gmail.com> wrote:
I'm giving a talk on the lute next week and I was searching for a
statistic about how much of the Renaissance lute repertoire
consist
of intabulations.
Also, I am looking for statistics (estimates really) of how many
tabs there are and could have been and how many songs with in
tabulation there are. I've heard that outside of the piano and
possibly violin there is more lute music than for any other
instrument. I want to back that up. If you could point me to some
research or quotes somewhere on the Internet, I would be much
obliged.
Thanks in advance.
Ed Durbrow
Saitama, Japan
[2]http://www.youtube.com/user/edurbrow?feature=watch
[3]https://soundcloud.com/ed-durbrow
[4]http://www9.plala.or.jp/edurbrow/
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2. http://www.youtube.com/user/edurbrow?feature=watch
3. https://soundcloud.com/ed-durbrow
4. http://www9.plala.or.jp/edurbrow/
5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: bergamasca
The Gianoncelli Bergamesca from 1650 for archlute is superb. I played
it last month for O'dette's master class.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Martin Shepherd
Date: 7/25/18 3:31 AM (GMT-07:00)
To: Lute List
Subject: [LUTE] bergamasca
Hi All,
Can anyone recommend a Bergamasca (or whatever you want to call it with
a I-IV-V bass) in F, preferably early, preferably Italian?
Thanks,
Martin
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[LUTE] Re: Piccinini in English
Yes my French is lower in the ocean than my Italian. I may have that
journal buried somewhere, but I suspect not.
Merci!
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Rainer <rads.bera_g...@t-online.de>
Date: 4/9/18 6:11 AM (GMT-07:00)
To: lutelist Net <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: Piccinini in English
Erm - do you speak French?
I have a translation to French.
Rainer
PS
There is a translation to English in the LSA Journal 1996 by Stan
Buetens.
Of course, I can send it.
I assume your English is better than your French :)
On 09.04.2018 13:32, spiffys84121 wrote:
> Could some dear person point me in the direction of an English
> translation of the first part of Piccinini's 1623 book? Ya, my
Italian
> is rusty-er than a sunken ocean liner.
>
> Thanks!
>
> Sterling
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Piccinini in English
Could some dear person point me in the direction of an English translation of the first part of Piccinini's 1623 book? Ya, my Italian is rusty-er than a sunken ocean liner. Thanks! Sterling Sent from my Verizon, Samsung Galaxy smartphone To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Orfeo
Hi all-- Has anyone info about where to get Nikita Koshkin's Orfeo for Archlute? Thanks, Sterling Sent from my Verizon, Samsung Galaxy smartphone To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Naming of things was Re: Betrachte meine Seel
Question -- are there any recordings of any of these instruments here
being discussed?
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Markus Lutz
Date: 3/21/18 3:27 PM (GMT-07:00)
To: "'lute@cs.dartmouth.edu'"
Subject: [LUTE] Re: Naming of things was Re: Betrachte meine Seel
.. seems to be quite complicated:
In the Dresden Telemann cantatas it seems to be written: Calchedon.
In DK-Kk Mus 6509.3031 (also Telemann) it seems to be written:
Chalcedon.
You can choose - I don't know either ...
Markus
Am 21.03.2018 um 20:36 schrieb Stephan Olbertz:
> "Dieter Kirsch prefered to use the second one "Chalcedon", which was
the normal name in the Telemann cantatas - and which I also would
prefer."
>
> Erm, how would one pronounce that, BTW?
>
> Stephan
>
> -Ursprüngliche Nachricht-
> Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
Auftrag von Markus Lutz
> Gesendet: Mittwoch, 21. März 2018 20:08
> An: 'lute@cs.dartmouth.edu'
> Betreff: [LUTE] Re: Naming of things was Re: Betrachte meine Seel
>
> Any try to categorize the mandora thing shouldn't stop you from
looking on the historical names, that had been given then to the actual
instruments and from trying to understand, which concrete instrument
was meant.
>
> Gallichona and Mandora seem to have been used in Dresden for the same
instrument, as D-Dl Mus 2-V-7 shows clearly: The title reads "Duetto
Mandora 1ma / 2da "
> etc.
>
> And in the parts "Gallichona" is used for the instrument, that is
tuned in d.
>
> Anyway IMHO it makes sense for me to differ between the spoken three
different instrument types - as they had different functions in
ensembles, especially the Mandora and the bass instrument.
>
> BTW - Dieter Kirsch prefered to use the second one "Chalcedon", which
was the normal name in the Telemann cantatas - and which I also would
prefer.
>
> Best regards
> Markus
>
>
> Am 21.03.2018 um 16:57 schrieb Dan Winheld:
>> Martyn-
>> Excellent summing up, and kudos to all heroes attempting to put
some
>> order into the unstable chaos of nomenclature; a task more
hopeless
>> than herding ADD kittens on a moving carousel.
>> -But beware of the Rene Magritte trap: "Ceci n'est pas une
pipe- the
>> treachery of images". And of course actual objects!
>> On 3/21/2018 6:22 AM, Martyn Hodgson wrote:
>>
>> Dear Markus and Stephan,
>> I very well understand your position, and that of a few
researchers, of
>> wishing to categorise instruments by associating a specific
modern name
>> based on just one out of a selection of earlier names - it
certainly
>> simplifies things and may appear to make things easier for the
general
>> public. A bit like calling all plucked keyboard instruments
'spinets',
>> which was the British dealer practice for many years up to the
mid-
>> twentieth century and can still lead to confusion today when
trying to
>> trace earlier catalogued instruments (eg a spinet by a maker
not known
>> for making such instruments proved very elusive...).
>> The problem arises when the practice becomes widespread outside
>> the cognoscenti and quite innocently leads to supposed
statements of
>> fact which then become part of the modern mythology which is in
turn,
>> sadly, taken up by others. Such as statements like: 'callichons
were
>> the larger instrument, were tuned in D; mandoras were smaller
and tuned
>> in E; or, it's something to do with the type of peghead, or,
etc.
>> .'
>> I think it generally pays to be prudent in these organological
matters
>> and try to be as precise as possible and so protect against
unintended
>> consequences. Otherwise someone less knowledgeable than you
might come
>> across, say, Bresianello's works for 'Gallichone solo' and
quite
>> understandably assume that they are meant for the large
continuo
>> instrument in a nominal A tuning... And other less
obvious
>> examples.
>> If one employs a compound name, such as gallichon/mandora (or
g/m for
>> short), to describe such instruments then any danger of
unintentionally
>> misleading is easily avoided and the nineteenth century museum
>> curators' obsession with the precise naming and categorisation
of
>> everything isn't prejudicially adopted.
>> regards
>> Martyn
>>
>> __
>>
>> From: Markus Lutz [1]
[LUTE] Re: Some questions
Hmm. I never thought I'd need to defend my status as a working lute
player because I have a 'collection' of six lutes (4 of which I built).
So- if i reduce the collection down to one single, silly seven course,
then I can be worthy? Yes folks- we're truly livin in the age of
trump(;
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Tristan von Neumann <tristanvonneum...@gmx.de>
Date: 3/17/18 9:37 PM (GMT-07:00)
To: lutelist Net <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: Some questions
Yes, but they are not "collecting" lutes I guess. They have them
because
they can play the music intended for it.
Lute collectors seem mostly wealthy amateurs :)
If I don't play an instrument enough, I give it away or sell it.
Am 17.03.2018 um 22:46 schrieb spiffys84121:
> Hmm. Are there -any- professional lute players that don't have
at
> least a few lutes?
>
> S
>
> Sent from my Verizon, Samsung Galaxy smartphone
>
> Original message
> From: Ron Andrico <praelu...@hotmail.com>
> Date: 3/17/18 6:36 AM (GMT-07:00)
> To: mathias.roe...@t-online.de, Lutelist <lute@cs.dartmouth.edu>
> Subject: [LUTE] Re: Some questions
>
>Tristan and Mathais, you have hit upon a very important point.
> While
>not as expensive as they should be relative to the demanding
>craftsmanship of construction, lutes are too costly for
professional
>musicians to *collect*. That is a major hurdle to getting
lutes
> into
>the hands of budding players, and the unfortunate dynamic
creates a
>*class* of lute players that might possibly exclude young
persons
> with
>both interest and potential.
>The Lute Society (UK) has had a lute hire program for many
years
> now,
>enabling interested persons to sample an instrument. The
American
> lute
>organization has recently implemented what they call a *lute
rental*
>program, an innovation I proposed to them in 2000. I wish
they
> would
>call it a *lute access* program, placing the emphasis on
getting
> their
>growing collection of instruments into the hands of potential
>lutenists, rather than the gory details of renting them.
>When it's possible for any interested person without the cost
> barrier,
>and only then, lutes will seem normal rather than unusual, and
the
>instrument will thrive in the future.
>RA
>
__
>From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on
> behalf
>of mathias.roe...@t-online.de <mathias.roe...@t-online.de>
>Sent: Saturday, March 17, 2018 7:55 AM
>To: Lutelist
>Subject: [LUTE] Re: Some questions
> Funds may be the pivotal point. For my first ten years with
the
> lute
>I
> used to play just anything on my one and only 8c lute that
Larry
>Brown
> had built for Budget Instruments Ltd. By anything I mean
anything
> (Dowland, Bach, Schubert, Wandervogel lieder, Clapton).
> When funds started to come in, I afforded a swan neck. Then
I
> discovered that an 11 was needed because swan necks aren't
best
> for
> French Baroque. Then there was that short era of
transitional
>tunings,
> requiring a 12c double neck. Finally I realised that a
liuto
>attiorbato
> with single basses is not really the thing for Italian
arciliuto
>music
> which demands octave strings down to the 14th course. I
omit the
> serious reasoning for the chitarone and the angÃÆ Â©lique.
> I could have done almost all of that music on my old 8c
lute,
>probably,
> which still is in good shape. Yet funds were available, and
so
> was
>my
> curiosity for new shores to explore.
> Mathias
>
>
__
> Gesendet mit der [1]Telekom Mail App
> --- Original-Nachricht ---
> Von: Tristan von Neumann
> Betreff: [LUTE] Re: Some questions
> Datum: 17.03.2018, 8:16 Uhr
> A
[LUTE] Re: Some questions
Hmm. Are there -any- professional lute players that don't have at
least a few lutes?
S
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Ron Andrico <praelu...@hotmail.com>
Date: 3/17/18 6:36 AM (GMT-07:00)
To: mathias.roe...@t-online.de, Lutelist <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: Some questions
Tristan and Mathais, you have hit upon a very important point.
While
not as expensive as they should be relative to the demanding
craftsmanship of construction, lutes are too costly for professional
musicians to *collect*. That is a major hurdle to getting lutes
into
the hands of budding players, and the unfortunate dynamic creates a
*class* of lute players that might possibly exclude young persons
with
both interest and potential.
The Lute Society (UK) has had a lute hire program for many years
now,
enabling interested persons to sample an instrument. The American
lute
organization has recently implemented what they call a *lute rental*
program, an innovation I proposed to them in 2000. I wish they
would
call it a *lute access* program, placing the emphasis on getting
their
growing collection of instruments into the hands of potential
lutenists, rather than the gory details of renting them.
When it's possible for any interested person without the cost
barrier,
and only then, lutes will seem normal rather than unusual, and the
instrument will thrive in the future.
RA
__
From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on
behalf
of mathias.roe...@t-online.de <mathias.roe...@t-online.de>
Sent: Saturday, March 17, 2018 7:55 AM
To: Lutelist
Subject: [LUTE] Re: Some questions
Funds may be the pivotal point. For my first ten years with the
lute
I
used to play just anything on my one and only 8c lute that Larry
Brown
had built for Budget Instruments Ltd. By anything I mean anything
(Dowland, Bach, Schubert, Wandervogel lieder, Clapton).
When funds started to come in, I afforded a swan neck. Then I
discovered that an 11 was needed because swan necks aren't best
for
French Baroque. Then there was that short era of transitional
tunings,
requiring a 12c double neck. Finally I realised that a liuto
attiorbato
with single basses is not really the thing for Italian arciliuto
music
which demands octave strings down to the 14th course. I omit the
serious reasoning for the chitarone and the angÃÆ Â©lique.
I could have done almost all of that music on my old 8c lute,
probably,
which still is in good shape. Yet funds were available, and so
was
my
curiosity for new shores to explore.
Mathias
__
Gesendet mit der [1]Telekom Mail App
--- Original-Nachricht ---
Von: Tristan von Neumann
Betreff: [LUTE] Re: Some questions
Datum: 17.03.2018, 8:16 Uhr
An: lutelist Net
Some people don't have the funds to "collect lutes" :)
I'm quite happy with 7 courses - it's amazing how just one extra
course
extends the repertoire well into the 17th century, if you don't
mind
playing just the upper octaves.
Am 17.03.2018 um 02:52 schrieb spiffys84121:
> I will play any music on lutes, if it works for that lute. I
believe
in
> using the right tool for the job-- unlike guitarists and
pianists
who
> endeavor to build the whole house with just a hammer.
>
> My question-- do most lute players only specialize in one
repertoire?
I
> play any lute music from almost the entire history of the
lute--
except
> medieval. Of course this requires multiple lutes, which I'm
happy
to
> collect and play. I go through phases, like sometimes all I
want
to
do
> is play six course music; then all of a sudden baroque lute is
all
I
> care about in life. Right now I'm obsessed with the liuto
attiorbato
> which I think is the most versatile of all lutes. If for some
reason
I
> had to have only one lute, it would be an attiorbato. One can
play
> hundreds of years worth of music on it(in a pinch) I'm working
on
my
> version of 'Georga on my Mind' at present. My attiorbatos have
a
range
> of 5 octaves.
>
> Sterling
>
&
[LUTE] Re: Some questions
I will play any music on lutes, if it works for that lute. I believe in
using the right tool for the job-- unlike guitarists and pianists who
endeavor to build the whole house with just a hammer.
My question-- do most lute players only specialize in one repertoire? I
play any lute music from almost the entire history of the lute-- except
medieval. Of course this requires multiple lutes, which I'm happy to
collect and play. I go through phases, like sometimes all I want to do
is play six course music; then all of a sudden baroque lute is all I
care about in life. Right now I'm obsessed with the liuto attiorbato
which I think is the most versatile of all lutes. If for some reason I
had to have only one lute, it would be an attiorbato. One can play
hundreds of years worth of music on it(in a pinch) I'm working on my
version of 'Georga on my Mind' at present. My attiorbatos have a range
of 5 octaves.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Leonard Williams
Date: 3/16/18 3:00 PM (GMT-07:00)
To: Lute@cs.dartmouth.edu
Subject: [LUTE] Re: Some questions
I, myself, was attracted to the lute, via recorders and other
early
instruments, because I like playing renaissance music. What better
way
to enjoy it than on the instruments for which it was written? If I
were an instructor, I would probably be more inclined to teach
guitarists to read lute-tabbed recercari than to play later music on
the lute.
Leonard
-Original Message-
From: Mathias.Roesel
To: lute@cs.dartmouth.edu
Sent: Fri, Mar 16, 2018 2:28 pm
Subject: [LUTE] Re: Some questions
Everybody is free to do with their lutes, or should be so, what they
like best.
Gilbert's initial observation was, though, that some 90% of this
tiny
community don't seem to be interested in newly composed music for
the
lute. And I take it that he wasn't referring to the lute mailing
list
community exclusively, but to lute loving folks in general. They're
fully entitled, aren't they, to not be interested. And I hasten to
add
that I myself refuse to get involved in lute religious discussions
about whether or not lutes should be taken to play modern music. I
for
one prefer to pick up the guitar for such purposes.
Mathias
__
Gesendet mit der [1]Telekom Mail App
--- Original-Nachricht ---
Von: Wayne
Betreff: [LUTE] Re: Some questions
Datum: 16.03.2018, 18:01 Uhr
An: lute net
One thing that has not been mentioned is that we have choices - we
all,
or most of us, or some of us, can choose to play a certain part of
our
repertoire on our Les Paul/Marshall, or our classical guitar, or our
romantic guitar, or our bandora, or ukulele or even saxophone or
synth
in some cases. If we can choose to play Spanish music on our vihuela
we
can choose to play Babbit on our (analogue tube) synth. So maybe we
are
overlooking contemporary lute music because we tend to pick up a
different instrument to play something modern. Especially when we
need
to be as loud as everyone else.
Does anyone here not have or play any instrument at all but the
lute?
Wayne
> Begin forwarded message:
>
> From: WALSH STUART <[2][1]s.wa...@ntlworld.com>
> Subject: [LUTE] Re: Some questions
> Date: March 16, 2018 at 12:26:07 PM EDT
>
> If it seems odd to want to play modern music on a lute it is
surely
odder to only play a lute and only ever to play music that was
composed
centuries ago.
>
> Perhaps no one is odd enough for that! If there were such a person
-
who would only, ever, play centuries' old music (however gem-laden
it
may be) - would it be enough to say that this choice was the
harmless
choice of a free being?
>
> There is no obvious harm to others in such a case but perhaps it's
a
case of self-harm.
>
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1. mailto:s.wa...@ntlworld.com
2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
3.
http://www.t-online.de/service/redir/email_app_android_sendmail_footer.
htm
4. mailto:s.wa...@ntlworld.com?
5.
[LUTE] Re: Loose frets
A worn fret is not the same thing as a loose fret.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Edward Martin <edvihuel...@gmail.com>
Date: 3/12/18 7:51 PM (GMT-07:00)
To: spiffys84121 <spiffys84...@cs.dartmouth.edu>
Cc: John Lenti <johnle...@hotmail.com>, lute@cs.dartmouth.edu
Subject: [LUTE] Re: Loose frets
One factor is that new frets sound great. That is why I change frets.
Sent from my iPhone
> On Mar 12, 2018, at 8:07 PM, spiffys84121
<spiffys84...@cs.dartmouth.edu> wrote:
>
> If you're smart enough to -tie- frets, you're smart enough to
-tighten-
> frets. It takes less time to do than describe. Seriously-- why are
> people --replacing-- loose frets??
>
> Baffled,
>
> Sterling
>
> Sent from my Verizon, Samsung Galaxy smartphone
>
> Original message
> From: John Lenti <johnle...@hotmail.com>
> Date: 3/12/18 1:13 AM (GMT-07:00)
> To: howard posner <howardpos...@ca.rr.com>, lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Loose frets
>
> I'm a little reluctant to share something that might seem almost
> immoral, but what the hell, I make my living playing the lute
and I
> tie
> a lot of frets, so I'll chip in here: when I go, as I do almost
> weekly,
> from my home in Seattle, where the weather is always perfect for
> gut-strung-and-fretted instruments, to a place like the
mountains of
> Montana or the desert of Tucson and the humidity is 1% and my
frets
> (usually it's 1, 5, and 6 on my main touring instrument) start
> slipping
> and sliding around, and I don't feel like re-fretting, I tape
them
> down
> with masking tape.
> Sent from [1]Mail for Windows 10
>
__
> From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on
> behalf
> of howard posner <howardpos...@ca.rr.com>
> Sent: Friday, March 9, 2018 9:01:32 AM
> To: lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Loose frets
>> On Mar 9, 2018, at 8:12 AM, John Mardinly <john.mardi...@asu.edu>
> wrote:
>>
>> My frets never come loose and they have not worn out yet. They
> are
>> metal.
> I want to know how you tied them on in the first place. You
must
> have
> really strong fingers.
> To get on or off this list see list information at
>
>
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>
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>
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> References
> 1. https://go.microsoft.com/fwlink/?LinkIdU0986
> 2.
>
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>
outh.edu/~wbc/lute-admin/index.html|01||b2e0482fe1c54b991ec608d585
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df2c7f|84df9e7fe9f640afb435|1|0|636562115923455431=IZ
> Z6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA==0
>
[LUTE] Re: Loose frets
A worn fret is not the same thing as a loose fret.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Edward Martin <edvihuel...@gmail.com>
Date: 3/12/18 7:51 PM (GMT-07:00)
To: spiffys84121 <spiffys84...@cs.dartmouth.edu>
Cc: John Lenti <johnle...@hotmail.com>, lute@cs.dartmouth.edu
Subject: [LUTE] Re: Loose frets
One factor is that new frets sound great. That is why I change frets.
Sent from my iPhone
> On Mar 12, 2018, at 8:07 PM, spiffys84121
<spiffys84...@cs.dartmouth.edu> wrote:
>
> If you're smart enough to -tie- frets, you're smart enough to
-tighten-
> frets. It takes less time to do than describe. Seriously-- why are
> people --replacing-- loose frets??
>
> Baffled,
>
> Sterling
>
> Sent from my Verizon, Samsung Galaxy smartphone
>
> Original message
> From: John Lenti <johnle...@hotmail.com>
> Date: 3/12/18 1:13 AM (GMT-07:00)
> To: howard posner <howardpos...@ca.rr.com>, lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Loose frets
>
> I'm a little reluctant to share something that might seem almost
> immoral, but what the hell, I make my living playing the lute
and I
> tie
> a lot of frets, so I'll chip in here: when I go, as I do almost
> weekly,
> from my home in Seattle, where the weather is always perfect for
> gut-strung-and-fretted instruments, to a place like the
mountains of
> Montana or the desert of Tucson and the humidity is 1% and my
frets
> (usually it's 1, 5, and 6 on my main touring instrument) start
> slipping
> and sliding around, and I don't feel like re-fretting, I tape
them
> down
> with masking tape.
> Sent from [1]Mail for Windows 10
>
__
> From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on
> behalf
> of howard posner <howardpos...@ca.rr.com>
> Sent: Friday, March 9, 2018 9:01:32 AM
> To: lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Loose frets
>> On Mar 9, 2018, at 8:12 AM, John Mardinly <john.mardi...@asu.edu>
> wrote:
>>
>> My frets never come loose and they have not worn out yet. They
> are
>> metal.
> I want to know how you tied them on in the first place. You
must
> have
> really strong fingers.
> To get on or off this list see list information at
>
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> %3D=0
> --
> References
> 1. https://go.microsoft.com/fwlink/?LinkIdU0986
> 2.
>
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>
outh.edu/~wbc/lute-admin/index.html|01||b2e0482fe1c54b991ec608d585
>
df2c7f|84df9e7fe9f640afb435|1|0|636562115923455431=IZ
> Z6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA==0
>
[LUTE] Re: Loose frets
If you're smart enough to -tie- frets, you're smart enough to -tighten-
frets. It takes less time to do than describe. Seriously-- why are
people --replacing-- loose frets??
Baffled,
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: John Lenti
Date: 3/12/18 1:13 AM (GMT-07:00)
To: howard posner , lute@cs.dartmouth.edu
Subject: [LUTE] Re: Loose frets
I'm a little reluctant to share something that might seem almost
immoral, but what the hell, I make my living playing the lute and I
tie
a lot of frets, so I'll chip in here: when I go, as I do almost
weekly,
from my home in Seattle, where the weather is always perfect for
gut-strung-and-fretted instruments, to a place like the mountains of
Montana or the desert of Tucson and the humidity is 1% and my frets
(usually it's 1, 5, and 6 on my main touring instrument) start
slipping
and sliding around, and I don't feel like re-fretting, I tape them
down
with masking tape.
Sent from [1]Mail for Windows 10
__
From: lute-...@cs.dartmouth.edu on
behalf
of howard posner
Sent: Friday, March 9, 2018 9:01:32 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Loose frets
> On Mar 9, 2018, at 8:12 AM, John Mardinly
wrote:
>
> My frets never come loose and they have not worn out yet. They
are
> metal.
I want to know how you tied them on in the first place. You must
have
really strong fingers.
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2.
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outh.edu/~wbc/lute-admin/index.html|01||b2e0482fe1c54b991ec608d585
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[LUTE] How to tighten frets
I was going to make a video, but I think a few words will suffice. To tighten a loose fret, move the fret up to a very loose position until you can push one end of the fret through the knot. Pull it as tight as it will go just as you did when originally tying the fret. Usually you will get only a few millimeters of extra. Now, burn the existing bit with a soldering iron or match or flame-thrower or however you make heat. Put the fret in position. Now you'll never have to use ridiculously lame shims under your frets again. The very first time I put frets on a lute as a kid I said-"oh, you can tighten them if they get loose." And ever since then I've wondered why people use shims, or even the completely baffling practice of replacing loose frets. "Do they," I wondered "replace their shoe laces every time they tie their shoes?" Maybe I'm a dreamer, but I think we can end this strange shims and fret replacing practice in our lifetimes. Sterling Sent from my Verizon, Samsung Galaxy smartphone To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: meantone tuning tech
I think I need to make a video about tightening frets. Possibly this
weekend.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Christopher Wilke <chriswi...@cs.dartmouth.edu>
Date: 3/9/18 6:20 AM (GMT-07:00)
To: Lutelist Net <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: meantone tuning tech
I'm also curious how to tighten an old fret once the knot has been
burned. Sterling, can you enlighten us?
I've sometimes very lightly run a soldering iron along the length of
the back of the fret and, if there is space, at the bend at the
knot.
It seems to help if the fret is not very loose, but one has to be
really careful not to press too hard or you can cause a weak spot or
even breakage. It only works on frets that aren't too wobbly to
begin
with. If too loose, out come the shims...
Chris
[1]Sent from Yahoo Mail for iPhone
On Friday, March 9, 2018, 7:58 AM, Tristan von Neumann
<tristanvonneum...@gmx.de> wrote:
How would you tighten the frets? I tried burning off the knot a bit
more
so it pulls together. Does work sometimes.
I could put pieces of matches under the fret, but that's cheating :)
Am 09.03.2018 um 05:09 schrieb spiffys84121:
> It is quite easy to tighten frets when they become loose. It
baffles
me
> when I see lutes with shims on several frets. Changing your frets
when
> they are loose is like changing your shoe laces every time they
become
> loose. Just tighten those frets!
> Sterling
>
>
>
> Sent from my Verizon, Samsung Galaxy smartphone
>
> Original message
> From: Tristan von Neumann <[2]tristanvonneum...@gmx.de>
> Date: 3/8/18 6:28 PM (GMT-07:00)
> To: lutelist Net <[3]lute@cs.dartmouth.edu>
> Subject: [LUTE] Re: meantone tuning tech
>
> My frets move even if I don't want them to move... at least after
some
> time. Maybe my knots are not good enough. But once you move them,
they
> become loose.
> Actually I find some differences in tone very appealing.
> Even if some pieces sound dark or harsh, I try to think of it as
color
> and not a flaw.
> I don't know how this was in different climate zones of Europe,
but
is
> there a region where Lutes are always in tune, considering the
"Little
> Ice Age" of course, not today's reemerging from it.
> But with gut and mostly difficult weather conditions back then, I
might
> want to think that we're already in Lute Heaven with being able to
> choose our room temperature and even avoid gut strings if you're
ok
with
> it...
> I sometimes wonder who Archicembali were kept in tune...
>
> Am 08.03.2018 um 18:39 schrieb Daniel Shoskes:
> > I don't have OUP access so can't read the entire review, but
would
be
> rather surprised to have a criticism boil down to Dolata's thesis
was
> "the frets can move so they must have moved". I read the book a
couple
> of years ago but glancing through it again there is a balanced and
> measured weighing of evidence including iconography, spacing of
> historical fixed fret instruments and multiple vihuela, viol and
lute
> sources including Galilei. If someone can share the entire review
with
> me I would be happy to re-evalutate and reconsider. For me
personally,
> spending most of my plucking in the d minor tuning world, equal
> temperament is the norm.
> >
> > Returning to the original question of the original poster, the
book
> contains practical advice for tuning in meantone temperaments
using
the
> ear and/or a commercial electronic tuner and deals with pros and
cons
> for solo and ensemble players.
> >
> > Danny
> >
> >> On Mar 8, 2018, at 10:57 AM, Andreas Schlegel
> <[4]lute.cor...@sunrise.ch> wrote:
> >>
> >> There's a different view here:
> >> A. Otterstedt, Fretting about tuning (review of D. Dolata,
Meantone
> temperaments on lutes and viols, Bloomington und Indiana, 2016),
in:
> Early Music, cax101, [5]https://doi.org/10.1093/em/cax101
> >>
> >> Andreas
> >>
> >>> Am 08.03.2018 um 16:09 schrieb Daniel Shoskes
<[6]kidneykut...@gmail.com>:
> >>>
> >>> For an excell
[LUTE] Re: meantone tuning tech
It is quite easy to tighten frets when they become loose. It baffles me
when I see lutes with shims on several frets. Changing your frets when
they are loose is like changing your shoe laces every time they become
loose. Just tighten those frets!
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Tristan von Neumann
Date: 3/8/18 6:28 PM (GMT-07:00)
To: lutelist Net
Subject: [LUTE] Re: meantone tuning tech
My frets move even if I don't want them to move... at least after some
time. Maybe my knots are not good enough. But once you move them, they
become loose.
Actually I find some differences in tone very appealing.
Even if some pieces sound dark or harsh, I try to think of it as color
and not a flaw.
I don't know how this was in different climate zones of Europe, but is
there a region where Lutes are always in tune, considering the "Little
Ice Age" of course, not today's reemerging from it.
But with gut and mostly difficult weather conditions back then, I might
want to think that we're already in Lute Heaven with being able to
choose our room temperature and even avoid gut strings if you're ok
with
it...
I sometimes wonder who Archicembali were kept in tune...
Am 08.03.2018 um 18:39 schrieb Daniel Shoskes:
> I don't have OUP access so can't read the entire review, but would be
rather surprised to have a criticism boil down to Dolata's thesis was
"the frets can move so they must have moved". I read the book a couple
of years ago but glancing through it again there is a balanced and
measured weighing of evidence including iconography, spacing of
historical fixed fret instruments and multiple vihuela, viol and lute
sources including Galilei. If someone can share the entire review with
me I would be happy to re-evalutate and reconsider. For me personally,
spending most of my plucking in the d minor tuning world, equal
temperament is the norm.
>
> Returning to the original question of the original poster, the book
contains practical advice for tuning in meantone temperaments using the
ear and/or a commercial electronic tuner and deals with pros and cons
for solo and ensemble players.
>
> Danny
>
>> On Mar 8, 2018, at 10:57 AM, Andreas Schlegel
wrote:
>>
>> There's a different view here:
>> A. Otterstedt, Fretting about tuning (review of D. Dolata, Meantone
temperaments on lutes and viols, Bloomington und Indiana, 2016), in:
Early Music, cax101, https://doi.org/10.1093/em/cax101
>>
>> Andreas
>>
>>> Am 08.03.2018 um 16:09 schrieb Daniel Shoskes
:
>>>
>>> For an excellent book by a musicologist and busy lute performer
(solo and continuo), I highly recommend "Meantone Temperaments on Lutes
and Viols" by David Dolata. Indiana University Press 2016. History
covered in part 1, theory in part 2 and practicalities in part 3 (by
ear and using a tuning device).
>>>
>>> goo.gl/9Aewv2
>>>
>>>
On Mar 8, 2018, at 9:54 AM, Matthew Daillie
wrote:
I totally agree with Martin Shepherd (indeed two of our messages
said the same thing) but what is the valid point Ron was making ??
Leonard's original post was a question about his method for tuning
1/4 comma meantone, not whether it was appropriate or not to use it on
lutes, a can of worms I certainly did not wish to open (personally I
use both equal and 1/5 comma mean-tone on my lutes).
Best,
Matthew
On 08/03/2018 15:31, Martyn Hodgson wrote:
> Ron and Martin have valid points - in particular the advocacy
of a true
> meantone is something of a chimera on the lute. Indeed, this
matter of
> non-equal temperament on lutes has been considered on this
forum a
> number of times before - just search the archives. For example
this
> some seven years ago (and quite a few much more recently):
> * [1]Martyn Hodgson
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>>
>>>
>>> --
>>
>> Andreas Schlegel
>> Eckstr. 6
>> CH-5737 Menziken
>> Festnetz +41 (0)62 771 47 07
>> Mobile +41 (0)78 646 87 63
>> lute.cor...@sunrise.ch
>>
>>
>>
>>
>> --
>
>
>
>
[LUTE] Re: Cherbury lute book
Ya, I've been waiting decades now (I think) for the cherbury manuscript
to be published.
Sterling Price
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Matthew Daillie
Date: 1/31/18 4:26 AM (GMT-07:00)
To: Lutelist
Subject: [LUTE] Re: Cherbury lute book
The last I heard all the hard work had been done but they were waiting
to break even on the Matthew Holmes manuscript before publishing. This
was already some time ago.
Best,
Matthew
On 31/01/2018 11:54, Rainer wrote:
> I seem to remember that the English LS had announced a facsimile
edition.
>
> Rainer
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[LUTE] Gilded Roses
Hi all-- so what info do we have about gilded roses on lutes? I think the lute I'm building now needs her rose gilded. Thanks Sterling Price Sent from my Verizon, Samsung Galaxy smartphone To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Double first courses (chanterelles)
Now if we could just get people to start playing double strung
theorboes and attiorbatos-- ya that would make me so happy.
Sterling Price
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Bruno Cognyl-Fournier
Date: 1/22/18 8:22 AM (GMT-07:00)
To: Antonio Corona
Cc: Edward Martin , lute@cs.dartmouth.edu
Subject: [LUTE] Re: Double first courses (chanterelles)
Interesting to note however that the ancestor of the european lute,
ie
the arabic Oud, has had double chanterelles all throughout
history...
in fact its the lowest string which sometimes is single.
Bruno
2018-01-22 3:29 GMT-05:00 Antonio Corona
<[1]abcor...@cs.dartmouth.edu>:
Dear Edward,
Despite what the pegs on the vihuelas suggest, I've found
plenty
of
evidence that it was strung with a single first. We need to
review our
ideas on the subject of vihuela stringing ...
Best wishes
Antonio
__
From: Edward Martin <[2]edvihuel...@gmail.com>
To: lute net <[3]lute@cs.dartmouth.edu>
Sent: Sunday, 21 January 2018, 14:56
Subject: [LUTE] Double first courses (chanterelles)
Dear Collective wisdom,
When did double first courses cease to exist on renaissance
lutes?
We
know from early on, and from the middle ages, they were
double
strung
on every course, including the treble. In terms of
iconographical
evidence, I looked at the Caravaggio "Lute Player", an the
subject
(he
or she) is playing a 6 course lute, double strung throughout,
including
the treble, and there are 6 pegs on the upper and lower side
of
the
peg
box. Caravaggio's birth- death dates are 1571à ¢1610. So,
perhaps
his
subject had an old fashioned lute for the time, or perhaps
double-strung first courses lasted longer than we may think.
Vihuelas also her double strung in the first courses, at least
the
instruments show 12 pegs for the 6-course vihuela.
I tried to look up some information to answer my questions, but
I
could
not find any in the sources I used.
So, my questions are:
1. When did the double first courses stop, or go out of
vogue?
Was
it universal, or did some countries / nationalities stop the
practice
earlier or later than others.? Did Francesco use a double
first
course?
2. Why did the double chanterelle stop? We know that later,
lutes
only had pegs and pegboxes to accommodate a single treble.
3. What evidence is there to support the "when and why" of
this
practice?
4. If a double chanterelle was the norm for a great part of
the
renaissance, why is it that it is so infrequently that we see a
modern
player doing this practice?
Thanks in advance.
ed
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5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cavalcanti
The desire to play exquisite music will overcome any difficulty
Sterling Price
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Tristan von Neumann <tristanvonneum...@gmx.de>
Date: 1/20/18 10:55 AM (GMT-07:00)
To: lutelist Net <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: Cavalcanti
Dude, you know, everything is upside down? It's just very unintuitive
for me if the notes go up, Italian tabs go down.
I'll take a facsimile too, but I'd rather set in in French then myself.
Am 20.01.2018 um 17:39 schrieb spiffys84121:
> You know- if you can count to 12--- you can read Italian
tabð¤ð¤ð¤
>
> Sterling
>
> Sent from my Verizon, Samsung Galaxy smartphone
>
> Original message
> From: Tristan von Neumann <tristanvonneum...@gmx.de>
> Date: 1/20/18 6:15 AM (GMT-07:00)
> To: lutelist Net <lute@cs.dartmouth.edu>
> Subject: [LUTE] Cavalcanti
>
> Just curious: Is there a French tab transcription of the
Cavalcanti
> Lute
> Book? Is there a facsimile somewhere on the net?...
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
[LUTE] Re: Cavalcanti
You know- if you can count to 12--- you can read Italian tabð¤ð¤ð¤
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Tristan von Neumann
Date: 1/20/18 6:15 AM (GMT-07:00)
To: lutelist Net
Subject: [LUTE] Cavalcanti
Just curious: Is there a French tab transcription of the Cavalcanti
Lute
Book? Is there a facsimile somewhere on the net?...
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[LUTE] Re: String tech
Here's something I've been wondering for years. Haven't gut strings
always been made, even up until and after ww2 when nylon was first
used? Isn't it a continuous tradition going back to ancient times? Is
there a gap in our knowledge of how the strings were once made? Harps
for instance have always used gut strings.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Mimmo - Aquila Corde Armoniche
Date: 1/20/18 1:54 AM (GMT-07:00)
To: Lute List
Subject: [LUTE] Re: String tech
(Well. Sorry for the long post but I think than many can be interested
)
Many thinks that the 1st lute strings of the past were better: the only
source I know that testifies that is Baron (1727).
He wrote that there are instances were a roman 1st last till 4 weeks.
Well, many of the surviving lutes(5 course guitars (in mean those not
modified whose the original pitch standard can be supposed. They are:
the 13 course german baroque lutes, 5 course french guitars, venetian
lutes of 56-58 cms scale: 'mezzo punto' venetian pitch) has their
working index ranging from 225 to 235 Hz/mt.
Considering that on the graphic stress/strain, a thin gut string stop
to stretch around 2-3 semitone before the breakage (Daniello Bartoli
1678: 'a string breaks when it cannot stretch furthermore'), I come to
the conlusion that the lute/guitar 1st strings of the past had the same
breaking point of those made today, i.e. 34-39 Kg/mm2.
Instead, their lifetime was probably longer.
Well guys, generally speaking, I agree to what Ed wrote.
However I would like to point out that, a few years ago, I was very
luky to obtain by chance a few gut strings .38-.46 mm gauge (beef)
whose breaking index was of 310 Hz mt (!) and the lifetime around 2
months (Lynda Sayce, Caludia Caffagni feedbacks): no vernish, glue or
superficial coatings were employed: they were just rectified by
uncenterless machine and then oliled.
This is what happend to me.
I am pretty sure that potentially we stringmakers can reach a similar
goal even with lamb gut.
Unfortunately I was not ables to do the job again: the raw gut ribbons
must have some critical features that are not commonly available today.
In fact I was not ables to have that kind of gut again. That's pity.
I remember that I have done a short article on the UK lute society.
I have another thing to say: A. Kirker (rome 1650) wrote that the lute
1st strings were made from 1 unsplit lamb gut. Well, I was always
skeptical on this subject (Kirker was not a stringmaker). Well, a few
months ago I was ables to make a 1st string starting from a single thin
mongolian lamb gut and it was an amazing experience: I polished the
string in gentle way by hand; the final gauge was .40, the string was
even on its whole length; the breaking point was around 35 Kg/mm2. In
practice it breaks to A note on my lute of 61 cms. The sound was so
beautiful. I had no time to verify the lifetime. Again: i am fightring
to have more of that gut buti t is not easy; the diameter of ther gut
do not meet the necessity for sausages so for the mongolian workers IT
IS A WASTE. Crazy.
In conclusion: there is space for all the stringmakers to done the
job: researches and tests. Go ahead guys.
Mimmo
-Messaggio originale-
Da: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Per
conto di Leonard Williams
Inviato: venerdì 19 gennaio 2018 23:25
A: Lute List
Oggetto: [LUTE] Re: String tech
I play an 8-course, 59 cm lute, nominally in G (A c. 430), with 0.42 mm
treble gut from Gamut. The strings may last a while, but fraying and
the resulting compromised tone can occur early on. In some cases I can
turn the (unshortened) string around and avoid bad patches near the nut
or plucking zone. I would, nevertheless, prefer to change strings less
often, but I love the sound of gut!
Thanks,
Leonard
> On Jan 19, 2018, at 4:30 PM, Edward Martin
wrote:
>
> Hello Leonard and others,
>
> This is a topic of great interest to me, as I have played mostly gut
strings for 30 + years. There is nothing as beautiful as the sound of a
gut strung lute tuned well. Some have tried oils, resins, even crazy
glue with mixed effectiveness of making trebles last long.
>
> Of the few who responded, what they did not say is what pitch and
string length they are using. In my experience that is the utmost
important factor.
>
> If you want a g treble at aD0, you cannot exceed 59 cm in length. If
you do, you can only expect short strong life. It does not help to use
a smaller diameter treble, as lowering the tension does not help
either. If you want a baroque lute treble of f
[LUTE] Is sight reading even a thing?
https://m.youtube.com/watch?v=iLbZGJ6LEI4 Hi all-- here is a video of me reading Weiss suite 103 for the first time. Usually, the first time I play something is about like the 20th time. Not sure if that is normal. Thanks Sterling Price To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Wolf Hall
In July I was asked by Disney to appear in an episode of the show Andi
Mack. They needed a lute player for a big Ren Faire scene. I
wascontracted to play the Gianoncelli Bergamesca on camera. It was
great fun and I used a 15 course archlute. I was in two scenes. Tge
episode will air in the fall.
Sterling
Sent from my Verizon, Samsung Galaxy smartphone
Original message
From: Alain Veylit
Date: 9/6/17 8:51 PM (GMT-07:00)
To: lutelist Net
Subject: [LUTE] Re: Wolf Hall
Pride and Prejudice 2005 - luteless, but the ball scenes and costumes
were well-researched. I once played with a gambist whose instrument had
been made for one of the Errol Flynn movies.
On 09/06/2017 07:16 PM, Edward C. Yong wrote:
> Good dramas with proper period music that come to mind:
> 1) The 1994 film Nostradamus. It had a scene of a country
theatre, and
> the music accompanying was Susato, with an onstage band of
instruments
> (unfortunately including a metal flute). Soundtrack also included
> Josquin, etc.
> 2) The TV series The Borgias had plenty of Renaissance music,
even if
> most of it was about 100 years too late, but that's better than
most
> productions anyway. I was asked to do a bit of musical detective
work
> and the findings are here:
>
[1]http://www.3pp.website/2013/02/the-borgias-musical-background.html
> 3) The 1995 film Restoration. Lots of Purcell, even if much was
> arranged for modern orchestra.
> 4) The 1994 film The Madness of King George. Lots of Haendel,
mostly
> arranged for modern orchestra.
>
> On 6 September 2017 at 23:41, Rainer
<[2]rads.bera_g...@t-online.de>
> wrote:
>
> A bit late (after 2.5 years) :) - I seem to have missed it in
2015.
> I wonder if the serial really was such a success.
> I have watched (in German) all 6 episodes on the German/French
> [sic!] TV channel Arte recently.
> Apparently at least 50% of the population suffered from
depression
> in those days.
> How Cromwell survived 6 episodes without committing suicide is
an
> enigma.
> Rainer
> PS
> This reminds me of "Shakespeare in Love" which I recently
watched a
> second time on German TV - with very mixed feelings :)
> Of course there are many weird ideas. The queen would never
enter a
> public theatre.
> Question to the English members: Do most (Many?) people
understand
> those "hidden" jokes?
> I really liked the scene with Webster.
>On 22.01.2015 00:39, WALSH STUART wrote:
>
> (first episode of much-hyped TV series in UK)
> I was expecting an immediate response...
> So anyway, here goes: music begins with Ah Robin (not sung -
and
> probably played on a lute?)...melds into Glassy instrumental
stuff.
> A tremolando mandoline churns out all the plucked expressive
work,
> although lutes figure in the mise-en-scene from time to time.
> Mark Rylance is a very curious being.
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> --
>
> References
>
> 1.
http://www.3pp.website/2013/02/the-borgias-musical-background.html
> 2. mailto:rads.bera_g...@t-online.de
> 3. http://www.avast.com/
> 4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
