[LUTE] G
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[LUTE] G. Valentini - Sonata Enharmonica - Mystery solved
For those who follow my research: The probably weirdest Early Baroque Sonata, the "Enhamonic" Sonata by Giovanni Valentini, which constantly shifts between g minor and b minor, while exploring different time cycles based on 4, 5, 3 etc., actually has a matching Raga: Jaijaivanti. I have been looking for this match for a long time. Fortunately, Hariprasad Chaurasia's rendition is amazing. I decided to couple the Sonata with the final part of the Raga, to make clear how virtuosic improvisation can be done over this weird pattern. Note the rhythm changes which are introduced by the percussion and are also in the Sonata. Of course, Indian percussion is on a different level, as is the art of ornamentation of the Bansuri. Baroque Recorder players should definitely listen to players like Ronu Majumdar or Hariprasad Chaurasia, it will greatly enhance their improvisation skills. Enjoy: https://soundcloud.com/tristan-von-neumann/giovanni-valentini-sonata-enharmonica-raga-jaijaivanti-hariprasad-chaurasia-s To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] G Gabrieli playing the lute
Hi All, Does anyone know whether the portrait by Caracci in the Berlin Gemaeldegalerie, supposedly of Giovanni Gabrieli, really is a picture of him? He's playing a 7c lute. Martin To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] G. de Chambure
Anthony, I remember there was an exhibition of the Chambure collection at the Bibliothèque Nationale (not yet de France at the time) in 1980. I still have the complete catalogue of this extraordinary collection of music - printed and manuscripts - and instruments. A real treasure indeed, more than 100 pages descriptions ! We can certainly be grateful to the Countess for gathering this and leaving it all to the BNF, although, sadly, I heard, from musicians who knew her well and went to play or sing for her regularly at her hôtel particulier, using her instruments, that she lent some of these instruments to some people, who never gave them back... but she never did a move to get them back. A very generous person, indeed. Best, Jean-Marie === 27-03-2008 18:45:36 === Wolgang I just found this, in the records of Biblioth=E8que nationale de France. Charte documentaire des acquisitions. These are manuscripts received in stead of death duties, the Countess must have had quite a collection of manuscripts: Les dations ont enrichi considerablement les collections : Genevi=E8ve Thibault de Chambure en 1978 (manuscrits, recueils, editions des XVIe au XVIIIe si=E8cles), la succession Debussy-de Tinan, les manuscrits d'Henri Sauguet, la dation Francis Poulenc en 1998, la dation Andre Jolivet en 2002. Le Departement acquiert les livres de theorie musicale et les livres sur la musique. L'objectif est de completer les editions publiees en France, mais aussi de combler certaines lacunes d'editions etrang=E8res selectionnees, en raison de l'absence d'acquisitions etrang=E8res avant la creation du Departement (Allemagne, Italie, annees 1910-1940). Par exemple dans l'une des ventes de la collection de Chambure en 1995 : Stefano Pesori, Toccate de chitarriglia, Verona, ca 1650, Roland de Lassus, Jeremiae prophetae..., Paris, 1586, Giovanni Battista Bassani, La sirene amorosa, Venise, 1699 et des symphonies concertantes de Guenin et Breval =E0 la vente Mongredien en 1997. www.bnf.fr/pages/infopro/collectionspro/pdf/Charte_coll.pdf So the family paid off some death duties by giving manuscripts, etc to the Bibliot=E8que Nationale. Probably Arthur had access to these through the Countess. Presumably, her family did not have the same piorities as she did. Anthony Le 27 mars 08 =E0 17:44, wolfgang wiehe a ecrit : I bought a copy some years ago and i paid less than 100 Euro for it in a antiquarian book seller in berlin. There was a surprize in the book (i didn't know it before): Look at http://www.flickr.com/photos/[EMAIL PROTECTED]/2345788335/ Greetings Wolfgang, a proud owner! To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- = = = = = = = = = = = = = = = = = = = [EMAIL PROTECTED] http://poirierjm.free.fr 27-03-2008 N ¶è®ß¶¬+-±ç¥Ëbú+«b¢vÛiÿü0ÁË j»f¢ëayÛ¿Á·?ë^iÙ¢ø§uìa¶i
[LUTE] G Theorbo or movie prop?
Does anyone remember the instrument used in the movie All the Mornings of the World to accompany the two girls singing Un Jeune Fillette? The liner notes on the disc say R. Lislevand- theorbo. It has been some years since I saw the movie, but I remember marveling at this instrument having a very short neck extension and strangely attached/placed upper peg box. At the time, I summed it up to an unfamiliar French variation of the English theorbo, or a pure Hollywood style movie prop. If It is a prop, it's a little puzzling as to why, with Jordi Sovall as music director, a fictional instrument would be written into the screen play. Does a historical example of such an instrument exist? Could it be a historically plausible instrument bridging the transition from bass lute to theorbo? Can anyone shed some light on this subject? MB To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] g-string blues
For all those that need to be confirmed in their biased opinion that gut equals trouble and want to stay too affraid to try it out for themselves, I'll relate to you my gutsy adventures of this weekend. Friday afternoon I took out my 10-course (62cm 415Hz in g') to replace a false first string. I practiced a bit and found the new string (Kürshcner) true and quite stable. I tuned the string down, packed my things and went to Lommel in Belgium to play BWV999 and 995. I was there about an hour in advance and immediatley tuned my first string up. The concert place was a historic room, smallish and packed with about 70 people. So, rapidly rising temperature and humidity. Remarkably, the lute stayed stable, except for the first string, that I needed to tune up after each movement. Bother. After the break a cello player played a suite and we ended together with the Air from the 3rd suite. Again, I only had to tune up my first string, the rest had stayed stable, surprisingly under these conditions. Applause, we went off. When I came back 5 minutes later to pick up my lute, the first string was broken. That's why it was dropping all the time, it was untwisting! Lucky escape. Kürschner strings can be stable and strong, but tend to break rather unexpectetly. Saturday morning I took out my archlute (64cm 415Hz in g') and found the first string broken. No panic, I put on a new one (Kürschner), played it a bit, cut off excess string length, played a bit more. It broke at tahe nut and was too short to use again (stupid me, cutting of the extra bit). So, new string, again Kürschner. This one seems fine. Off to Nijmegen. Open the case in the church and found the first string broken. This time I could reuse it. Tune, sit down for rehearsal. Breaks again! Enough of cheap, rotten, ugly-anyway *^%$#!-Kürschner, so I take out my secret weapon: a Kathedrale string from Nicholas Baldock. Put it on, tune, on with rehearsal. Stable, true, beautiful. Trauerode is after the break, the church is cooling down. String is fine, but during alt aria no.5 (_the_ lute aria) it starts fraying where I pluck it. Mayor buzzing! But this is Kathedrale so it doesn't break. I avoid it as much as possible in the critical aria, but used it to the full in tenor aria no.8, where all the nice continuo is on the first string (lots of 7-6 and even #9-8). If it would brake here, so be it it, no.7 is with back-up organ continuo and there's only the tutti after that, and I can do without a first string. In the general continuo it was fine, but for solo playing it would have been very painful. But it's Kathedrale, so it didn't break. At home I could shift and reuse it. I expect it to be fine for the four concerts next weekend and a full month of practicing after that. Sunday morning with 8-course to Eindhoven. Concert in a large air-conditioned hall with very bright and warm stage lighting. No problems, stable lute, no breaking strings. So, what's the moral? Sh$t happens, strings do break. Could I have avoided this? Of course, I was stubborn and used 0.40mm first strings. 0.38mm would have been better because of the lower tension. Secondly, I was a miser to use up my supply of old Kürschner strings where I should have been wiser and put on Kathedrale from the beginning. Thirdly I could have chickened out and used a nylgut first string, it would not have made much difference in overall sound. In the solo Bach it would have made me unhappy perhaps, even the audience might have heard the difference if they would have been presented with the two alternatives, but in the cantata no-one would have noticed, I'm sure. I would have felt differently for me, perhaps, but nothing mayor. Is there a positive side to my weekend, too? Yes, I especially enjoyed my gut basses on the 8-course in Dowland songs and even Purcell continuo, and I cannot imagine playing the solo Bach with anything close to the sensitivity I did (sorry for the lack of modesty) if I would have had modern strings, especially 'guitar'-basses. I felt the nails-on-carbon lute next to me in the Bach cantata to be extremely ugly, harsh and sharp. But, to be honest, when I was sitting in the audience for the pieces he was doing alone, I felt his lute sounded quite fine, as it mixed with the rest of the ensemble and all its sharp bits were generously mollified in the overall sound of organ, violone and string players. Conclusion: I stick to my guts as it makes me happier. For the solo playing I think it does make a difference for the audience, especially the basses do sound differently. For the continuo it wouldn't have mattered much, if anything at all. By the way, it was fun to read all the heated posts, coming home late after these concerts. My two eurocents of experience (luckily I earned a bit more though, as I have to seriously stock up on first strings ...) David * David van Ooijen Email: [EMAIL PROTECTED] Http://home.planet.nl/~d.v.ooijen/
