[LUTE] Re: Chitarrone
Thanks for this! The bottom line is that the Italians had lutes of less than 6 courses in "guitar" tuning (with whatever names), the bass variety thereof eventually evolved into chitarrone, in the perspicacious opinion of Renato Meucci. I agree with Meucci, as his opinion is intelligently conceived, well-informed, and doesn't sound like Bob Spencer's aristocratic amateurism. RT On 10/17/2012 8:17 AM, R. Mattes wrote: On Wed, 17 Oct 2012 12:57:06 +0100, Monica Hall wrote I think you are confusing the issue here. There is no such thing as an "lute-shaped guitar". What Meucci is saying that the term "chitarra" in early (15th -16th century) Italian sources refers to an instrument of the lute family not to a figure-of-eight shaped instrument. I shure hope this is what Meucci meant. The meaning of words changes with the passage of time. Even worse: there's no definite meaning atached to 'chitarra' during that period. Unfortunately, at the end of the 15th century some theorists decided to switch from the well-established medieval latin terms to some fancy anticisizing terms. So we end up with "chitarra" in Tinctoris and Gafrius. Chitarra could mean: Lute, small Lute/gittern, Harp and at some point also the instrument we now call "Renaissance Guitar". So - a "Chitarrone" is "a large stringed instrument". Not very helpful :-) Cheers, RalfD Monica - Original Message - From: To: "Monica Hall" Cc: "Bruno Correia" ; "Lutelist" Sent: Wednesday, October 17, 2012 12:21 PM Subject: [LUTE] Re: Chitarrone The argument is that chitarrone is the bass variety of Italian lute-shaped guitar, that later was theorboed, and eventually conflated with theorbo. And this makes perfect sense. RT On 10/17/2012 4:04 AM, Monica Hall wrote: In a nutshell what Meucci has argued is that the term "chitarra" is derived from the Greek term "kithara" which refers to any plucked stringed instrument. In early Italian sources "chitarra" refers to a small member of the lute family not to the figure of 8 shaped guitar. The guitar was almost unknown in Italy until the early 17th century and is almost invariably known as the "chitarra spagnola" to distinguish it from the "chitarra italiana". The "chitarrone" is a large lute - not a large guitar. The inter-relationship between the chitarrone and the Spanish guitar in the early song repertoire is a complex one but it does seem that the chordal style of playing associated with the guitar did have some influence on lute accompaniments. I am afraid Groves is not a very reliable source of information for a lot of lute/guitar related topics. Best Monica - Original Message - From: "Bruno Correia" To: "List LUTELIST" Sent: Wednesday, October 17, 2012 2:11 AM Subject: [LUTE] Chitarrone The Grove Dictionaire says about the chitarrone: "The type of lute denoted by this humanist, classicizing term (chitarrone means, literally, a large kithara) was associated particularly with Jacopo Peri, Giulio Caccini and the other early writers of monody from the 1590s until about 1630." Has anybody challenged this etymology? Wouldn't be safe to say it simply derived from the chitarra (guitar)? Is was developed in the first place to acompany, playing chordally from a contino line, just as the 5 course guitar would do, though without the struming technique. The solo repertoire that came later looks very close to the guitar writing: chords a little counterpoint, arpeggios, slurs, campanellas efect e so on... -- Bruno Correia Pesquisador autonomo da pratica e interpretac,ao historicamente informada no alaude e teorba. Doutor em Praticas Interpretativas pela Universidade Federal do Estado do Rio de Janeiro. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- R. Mattes - Hochschule fuer Musik Freiburg r...@inm.mh-freiburg.de
[LUTE] Re: Chitarrone
Stuart did mention colascione just below! RT On 10/18/2012 3:45 AM, Monica Hall wrote: Nobody has yet mentioned the colascione, nor the bandurria and the vandola. Presumably they qualify for inclusion. I'm not sure whether it is helpful to go further afield. Let's stick to the 16th and 17th centuries. Monica - Original Message - From: "WALSH STUART" To: "Monica Hall" Cc: "Lutelist" Sent: Wednesday, October 17, 2012 9:38 PM Subject: [LUTE] Re: Chitarrone mandolins in many different forms, mandores, gitterns, some English guitars, mandora/gallichons, colascione, some 18th century French cistres, (further afield: things like Ukrainian torban, lute shaped hurdy-gurdies) Stuart On 17 October 2012 21:05, Monica Hall <[1]mjlh...@tiscali.co.uk> wrote: Such as ? . Monica - Original Message - From: [2]WALSH STUART To: [3]Monica Hall Cc: [4]Lutelist Sent: Wednesday, October 17, 2012 8:56 PM Subject: Re: [LUTE] Re: Chitarrone Other instruments than lutes have 'lute-shaped' bodies... Stuart On 17 October 2012 20:29, Monica Hall <[5]mjlh...@tiscali.co.uk> wrote: Well - what is the difference between a lute and a gittern/mandore. When is a lute not a lute? Chitarrone as I understand it is a large member of the lute family i.e. it has a lute shaped body. It depends what you mean by separate traditions... Monica...getting more confused by the minute. Diego, unfortunately I cannot read Italian. Are you in agreement with Meucci? Monica, the only things I know about Meucci's article are from you. As I understand it, Meucci isn't saying that the chitarrone is a large lute. The lute has its own, separate, traditions. The chitarrone (he is saying, I think) is a large (massive!) gittern (or gittern/mandore). Stuart On 17 October 2012 18:34, Diego Cantalupi <[1][6]tio...@gmail.com> wrote: If you can read Italian, you can find my dissertation about Chitarrone here: [2][7]http://www.diegocantalupi.it/tesi.pdf The first chapter is about ethimology. Diego > To get on or off this list see list information at [3][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[9]tio...@gmail.com 2. [10]http://www.diegocantalupi.it/tesi.pdf 3. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:mjlh...@tiscali.co.uk 2. mailto:s.wa...@ntlworld.com 3. mailto:mjlh...@tiscali.co.uk 4. mailto:lute@cs.dartmouth.edu 5. mailto:mjlh...@tiscali.co.uk 6. mailto:tio...@gmail.com 7. http://www.diegocantalupi.it/tesi.pdf 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 9. mailto:tio...@gmail.com 10. http://www.diegocantalupi.it/tesi.pdf 11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Chitarrone
So we have some uncategorizable instruments. The ultimate point is that Meucci makes a lot more sense than the rest of them/us. RT On 10/18/2012 3:40 AM, Martyn Hodgson wrote: Dear Stuart, I'd argue that many of these are 'lutes', such as mandores, some gitterns, theorbos, chitarroni, archlutes, mandoras/gallichons, colasciones, mandolins/mandolas, etc. In short, instruments developed directly from the same general platonic 'lute' form. The big difference, and obvious to all, is between the waisted guitar family and the lute family. And so we come full circle. Martyn --- On Wed, 17/10/12, WALSH STUART wrote: From: WALSH STUART Subject: [LUTE] Re: Chitarrone To: "Monica Hall" Cc: "Lutelist" Date: Wednesday, 17 October, 2012, 21:38 mandolins in many different forms, mandores, gitterns, some English guitars, mandora/gallichons, colascione, some 18th century French cistres, (further afield: things like Ukrainian torban, lute shaped hurdy-gurdies) Stuart On 17 October 2012 21:05, Monica Hall <[1][1]mjlh...@tiscali.co.uk> wrote: Such as ? . Monica - Original Message - From: [2]WALSH STUART To: [3]Monica Hall Cc: [4]Lutelist Sent: Wednesday, October 17, 2012 8:56 PM Subject: Re: [LUTE] Re: Chitarrone Other instruments than lutes have 'lute-shaped' bodies... Stuart On 17 October 2012 20:29, Monica Hall <[5][2]mjlh...@tiscali.co.uk> wrote: Well - what is the difference between a lute and a gittern/mandore. When is a lute not a lute? Chitarrone as I understand it is a large member of the lute family i.e. it has a lute shaped body. It depends what you mean by separate traditions... Monica...getting more confused by the minute. Diego, unfortunately I cannot read Italian. Are you in agreement with Meucci? Monica, the only things I know about Meucci's article are from you. As I understand it, Meucci isn't saying that the chitarrone is a large lute. The lute has its own, separate, traditions. The chitarrone (he is saying, I think) is a large (massive!) gittern (or gittern/mandore). Stuart On 17 October 2012 18:34, Diego Cantalupi <[1][6][3]tio...@gmail.com> wrote: If you can read Italian, you can find my dissertation about Chitarrone here: [2][7][4]http://www.diegocantalupi.it/tesi.pdf The first chapter is about ethimology. Diego > To get on or off this list see list information at [3][8][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[9][6]tio...@gmail.com 2. [10][7]http://www.diegocantalupi.it/tesi.pdf 3. [11][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:[9]mjlh...@tiscali.co.uk 2. mailto:[10]s.wa...@ntlworld.com 3. mailto:[11]mjlh...@tiscali.co.uk 4. mailto:[12]lute@cs.dartmouth.edu 5. mailto:[13]mjlh...@tiscali.co.uk 6. mailto:[14]tio...@gmail.com 7. [15]http://www.diegocantalupi.it/tesi.pdf 8. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 9. mailto:[17]tio...@gmail.com 10. [18]http://www.diegocantalupi.it/tesi.pdf 11. [19]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 2. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 3. http://us.mc817.mail.yahoo.com/mc/compose?to=tio...@gmail.com 4. http://www.diegocantalupi.it/tesi.pdf 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://us.mc817.mail.yahoo.com/mc/compose?to=tio...@gmail.com 7. http://www.diegocantalupi.it/tesi.pdf 8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 9. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 10. http://us.mc817.mail.yahoo.com/mc/compose?to=s.wa...@ntlworld.com 11. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 12. http://us.mc817.mail.yahoo.com/mc/compose?to=lute@cs.dartmouth.edu 13. http://us.mc817.mail.yahoo.com/mc/compose?to=mjlh...@tiscali.co.uk 14. http://us.mc817.mail.yahoo.com/mc/compose?to=tio...@gmail.com 15. http://www.diegocantalupi.it/tesi.pdf 16. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 17. http://us.mc817.mail.yahoo.com/mc/compose?to=tio...@gmail.com 18. http://www.diegocantalupi.it/tesi.pdf 19. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] cantio ruthenica XXXVIII - Trond Bengtson
Trond Bengtson posted a video of CR38 within an hour of Stuart and Valery - http://www.youtube.com/watch?v=Ii3V4XLgPMk Enjoy, RT On 10/18/2012 8:02 PM, Sauvage Valéry wrote: My try on CII http://torban.org/sarmatoruthenicae/ Val -Message d'origine- De : lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] De la part de r.turov...@gmail.com Envoyé : jeudi 18 octobre 2012 18:15 À : Martyn Hodgson Cc : Roman Turovsky; Lutelist Objet : [LUTE] New! - Two new Cantiones: CII - [1]http://torban.org/sarmatoruthenicae/audio/406.mp3 [2]http://torban.org/sarmatoruthenicae/images/406.pdf CI - [3]http://torban.org/sarmatoruthenicae/audio/405.mp3 [4]http://torban.org/sarmatoruthenicae/images/405.pdf Enjoy, RT -- References 1. http://torban.org/sarmatoruthenicae/audio/405.mp3 2. http://torban.org/sarmatoruthenicae/images/405.pdf 3. http://torban.org/sarmatoruthenicae/audio/405.mp3 4. http://torban.org/sarmatoruthenicae/images/405.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica CIII
http://torban.org/sarmatoruthenicae/audio/407.mp3 http://torban.org/sarmatoruthenicae/images/407.pdf Enjoy. Amities, RT Two new Cantiones: CII - [1]http://torban.org/sarmatoruthenicae/audio/406.mp3 [2]http://torban.org/sarmatoruthenicae/images/406.pdf CI - [3]http://torban.org/sarmatoruthenicae/audio/405.mp3 [4]http://torban.org/sarmatoruthenicae/images/405.pdf Enjoy, RT -- References 1. http://torban.org/sarmatoruthenicae/audio/405.mp3 2. http://torban.org/sarmatoruthenicae/images/405.pdf 3. http://torban.org/sarmatoruthenicae/audio/405.mp3 4. http://torban.org/sarmatoruthenicae/images/405.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] The Uman Massacre Ballad
AKA Cantio Ruthenica XXXIX (http://torban.org/ruthenicae/images/195b.pdf) http://torban.org/audio/rt/gonta-004r.mp3 The Ballad of the Uman Massacre, 1768. played and "sung" by yours truly. amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gut strings - The elephant in the room
On 12/1/2012 3:30 AM, William Samson wrote: After all, what we are seeking is true authenticity (aren't we?) rather than a sanitised version. Including medical bloodletting etc.? RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Gut strings - The elephant in the room
The overall incidence of Polycythemia Vera in the Minnesota population is 1.9 per 100,000 person-years. Nowhere near the incidence of lutenism. RT On 12/1/2012 10:47 PM, Dan Winheld wrote: On 12/1/2012 7:20 PM, Edward Martin wrote: Blood letting? It still works as the primary therapy for Polycythemia Vera. Kindly translate for us layluters, please- is it worse than Lachrimae Vera? ed At 12:00 PM 12/1/2012, Dan Winheld wrote: On 12/1/2012 5:07 AM, Roman Turovsky wrote: On 12/1/2012 3:30 AM, William Samson wrote: After all, what we are seeking is true authenticity (aren't we?) rather than a sanitised version. Actually, yes. Our friends the leeches have been getting a second look from some nostalgic medical researchers in recent years- including, of course, a look at blood letting itself (apparently draining off a little of the high-cholesterol excess from the overfed & overweight has had its health benefits). In fact, leeches were always available from some pharmacies in poor neighborhoods in Philadelphia when we lived there back in the 70'S. (1970's!) I prefer bleeding from more traditional manly pursuits- steel-string guitar playing & using sharp objects around the house. My wife has a fondness for dull paring knives. Anyone for a rousing chorus of "Le Tableaux de l'Operation de la Taille" by our famous 18th century medical survivor Marin Marais? Dan Including medical bloodletting etc.? RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 http://www.facebook.com/profile.php?id=1660298871&ref=name http://www.myspace.com/edslute http://magnatune.com/artists/edward_martin
[BAROQUE-LUTE] RT on Radio Concertzender
Dear friends, my second Ukrocentric lute radio program will run in aether in the vicinity of Amsterdam, Netherlands (and worldwide on the Web!) on Thursday, January 3rd! The details are at http://www.concertzender.nl/programmagids.php?date=2013-01-03&month=1&detail=61241 Do note that it would air at 11pm in Amsterdam, 5pm in New York, and midnight in Kyiv! The previous program (December of 2011) is archived at http://www.concertzender.nl/programmagids.php?date=2011-12-05&month=-11&detail=52618 for your perusal and delectation. Happy New Year! RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: RT on Radio Concertzender
The program is now archived at the same link, for your streaming perusal and delectation! Enjoy! RT Dear friends, my second Ukrocentric lute radio program will run in aether in the vicinity of Amsterdam, Netherlands (and worldwide on the Web!) on Thursday, January 3rd! The details are at [1]http://www.concertzender.nl/programmagids.php?date 13-01-03&month=1&detaila241 Do note that it would air at 11pm in Amsterdam, 5pm in New York, and midnight in Kyiv! The previous program (December of 2011) is archived at [2]http://www.concertzender.nl/programmagids.php?date 11-12-05&month=-11&detailR618 for your perusal and delectation. Happy New Year! RT -- References 1. http://www.concertzender.nl/programmagids.php?date%2013-01-03&month=1&detaila241 2. http://www.concertzender.nl/programmagids.php?date%2011-12-05&month=-11&detailR618 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bad Moment......Magdalena Tomsinska
she's been hacked. RT On 1/17/2013 12:04 PM, Dan Winheld wrote: This email came directly to me, not via the lute list. 2nd oldest scam going, by the way. Magdalena- are you aware of this? Dan On 1/17/2013 6:49 AM, MAGDALENA TOMSINSKA wrote: Hello, I am sorry for reaching you rather too late due to the situation of things right now.My family and I had a trip visiting Manila Philippines,everything was going on fine until last night when we got attacked by some unknown gunmen. All our money,phones and credit cards was stolen away including some valuable items, It was a terrible experience but the good thing is that they didn't hurt anyone or made away with our passports. We have reported the incident to the local authorities and the consulate but their response was too casual, we were ask to come back in 2 weeks time for investigations to be made proper,But the truth is we can't wait till then as we have just got our return flight booked and is leaving in few hours from now but presently having problems sorting out our bills here and also getting a cab down to the airport, Right now we're financially strapped due to the unexpected robbery attack, Wondering if you can help us with a quick loan to sort out our bills and get back home. All we need is (2,000 USD), I promise to refund you in full as soon as I return home hopefully tomorrow or next. write back now to let me know what you can do. Sincerely, Magdalena -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Good Moment......Two Cantiones on Czech TV
http://youtu.be/WqSB-vfFHD4 with Jindrich Macek on Renaissance Lute! Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] cantio sarmatoruthenica CIII
http://torban.org/sarmatoruthenicae/audio/408C.mp3 http://torban.org/sarmatoruthenicae/images/408.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: chitarra italiana
beats me. RT On 1/31/2013 5:24 PM, WALSH STUART wrote: On 31/01/2013 22:03, r.turov...@gmail.com wrote: I've extracted an interesting chitarra italiana image from a youtube video: http://polyhymnion.org/mus/chitarra-it.jpg RT Very interesting Any idea of the date/provenance? It looks like five-course (and definitely not re-entrant) and cittern-like peg box. Odd-looking left-hand position. I still don't understand that if this is a 'chitarra' and chitarra relates to what other places called 'gittern' (with all the spelling variants), how these things are this big? Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: chitarra italiana
Another interesting axe - http://sphotos-b.xx.fbcdn.net/hphotos-snc7/481778_397278697013322_293428185_n.jpg RT On 1/31/2013 5:54 PM, Roman Turovsky wrote: beats me. RT On 1/31/2013 5:24 PM, WALSH STUART wrote: On 31/01/2013 22:03, r.turov...@gmail.com wrote: I've extracted an interesting chitarra italiana image from a youtube video: http://polyhymnion.org/mus/chitarra-it.jpg RT Very interesting Any idea of the date/provenance? It looks like five-course (and definitely not re-entrant) and cittern-like peg box. Odd-looking left-hand position. I still don't understand that if this is a 'chitarra' and chitarra relates to what other places called 'gittern' (with all the spelling variants), how these things are this big? Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Lute painting
Do consider that the painter might have used a prop or even an imaginary instrument. RT On 2/4/2013 10:16 AM, Lex van Sante wrote: David, the strings are running alongside the extended neck in stead of passing over it. So the second pegbox has to be off-axle. With Bill I wonder. Lex Op 4 feb 2013, om 16:07 heeft David Van Edwards het volgende geschreven: Dear Bill, I assume one of these. http://www.vanedwards.co.uk/93.tif Sixtus Rauwolf Augsburg 1599 now in Copenhagen No. 93 This is the sole survivor of this type that Molenaer made famous. But your painting has the lower strings offset in in a strange, rather excessive, manner. Maybe a case of dodgy perspective rather than distortion. But if the offset is genuine then the upper pegbox must be something other, and to me unknown. Best wishes, David At 13:54 + 4/2/13, William Samson wrote: I wonder what the layout of the upper head of this lute might be? [1]http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif Artist Jacopo Vignale, early 17th Century. Bill -- References 1. http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- The Smokehouse, 6 Whitwell Road, Norwich, NR1 4HB England. Telephone: + 44 (0)1603 629899 Website: http://www.vanedwards.co.uk
[LUTE] Re: Lute painting
There are many problems with the Platzer axe: the neck-extension joint is way too deep, and the neck-bowl joint is broken and cracking the soundboard. It is obviously a PROP. RT On 2/4/2013 3:42 PM, William Samson wrote: Thanks! Yes - there are many similarities, but the main pegbox in the Platzer theorbo isn't bent back like the one in the Vignale painting. Bill From: "theoj89...@aol.com" To: lute@cs.dartmouth.edu Sent: Monday, 4 February 2013, 19:47 Subject: [LUTE] Re: Lute painting I'll try again: [1]http://www.lutevoice.com/luteiconography/Page%204.html Got to the painting by J.G. Platzer; an apparently non-offset theorbo neck extension. -Original Message- From: William Samson <[2]willsam...@yahoo.co.uk> To: David Van Edwards <[3]da...@vanedwards.co.uk> Cc: Lute List <[4]lute@cs.dartmouth.edu> Sent: Mon, Feb 4, 2013 1:53 pm Subject: [LUTE] Re: Lute painting Hi David, Looks like it's in the National Gallery of Ireland. [1][5]http://www.nationalgallery.ie/en/aboutus/Images_and_Licensing/Pri nt_ Sales/Music%20and%20Dance/Saint%20Cecilia.aspx Looking at this reproduction, there are a couple of misty wingtips as if the guy who added the wings had changed his mind about where they should be at some point. The woman at the harpsichord has a halo (- later addition?). This may account for it's "St Cecilia" title. She looks very mature (and happy) in comparison with other depictions of the saint. As you say, the angels don't look particularly other-worldly. Great fun, this speculation! Bill From: David Van Edwards <[6]da...@vanedwards.co.uk> To: William Samson <[7]willsam...@yahoo.co.uk> Cc: Lute List <[8]lute@cs.dartmouth.edu> Sent: Monday, 4 February 2013, 17:54 Subject: [LUTE] Re: Lute painting Dear Bill, Yes to all of that! Meanwhile if we wonder about alterations, do you notice that you can see right through one of the wings to the windowframe behind? Frankly the wings look rather out of period and style when taken together with the secular detailed nature of the clothing. The nice touch of the tuning hammer on the ironed cloth by the harpsichord also suggests the artist knew the other instrument too. It all looks very domestic, not quite how I imagine the angels behaving, and anyway where are the wings of the motherly soul playing harpsichord? Do you happen to know where it lives at the moment? Best wishes, David At 17:41 + 4/2/13, William Samson wrote: Hi David and Roman, Yes - The Rauwolf/Molinaer type what what first occurred to me, but the basses wouldn't be offset in that case. Another oddity is the very narrow, parallel-sided neck which wouldn't match Rauwolf (or any other lute) either. And yet, to me, the body of the lute is perfectly proportioned - Rose in the right place; bridge details correct - suggesting that the artist knew his lutes. So why the odd neck? I wonder if the painting was altered at some stage by another artist? Maybe it was originally a big 7c or 8c instrument and somebody decided to bring it 'up to date' with an extended neck and a load of diapasons. Anyway - I very much doubt if we've hit upon a new, hitherto unknown lute type. Best regards, Bill From: David Van Edwards <[2][9]da...@vanedwards.co.uk> To: William Samson <[3][10]willsam...@yahoo.co.uk> Cc: Lute List <[4][11]lute@cs.dartmouth.edu> Sent: Monday, 4 February 2013, 15:07 Subject: Re: [LUTE] Lute painting Dear Bill, I assume one of these. [1][5][12]http://www.vanedwards.co.uk/93.tif Sixtus Rauwolf Augsburg 1599 now in Copenhagen No. 93 This is the sole survivor of this type that Molenaer made famous. But your painting has the lower strings offset in in a strange, rather excessive, manner. Maybe a case of dodgy perspective rather than distortion. But if the offset is genuine then the upper pegbox must be something other, and to me unknown. Best wishes, David At 13:54 + 4/2/13, William Samson wrote: >I wonder what the layout of the upper head of this lute might be? > > [1][2][6][13]http://www.cs.dartmouth.edu/~wbc/icon/party-1.gif > >Artist Jacopo Vignale, early 17th Century. > >Bill > >-- > >References > >1. [3][7][14]http://www.cs.dar
[LUTE] Re: Baroque Guitar Video
I for one appreciate high contract, especially on an instrument not known for dynamic range. I believe this is probably the right way to do a fandango, a la plancha, rather that a souffle. RT On 2/13/2013 5:06 PM, WALSH STUART wrote: On 13/02/2013 19:03, Christopher Wilke wrote: Hello all, I've posted a new video of a live performance of me playing Santiago de Murcia's "Fandango" on baroque guitar. I've incorporated some improvisation into the piece. This represents the first time I've been able to muster up the courage to do it in front of other people. Your thoughts are most welcome. The link is: http://www.youtube.com/watch?v=g3v56-03ajU Chris Dr. Christopher Wilke D.M.A. Lutenist, Guitarist and Composer www.christopherwilke.com -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Well I very much enjoyed it (and, of course, I respect your skill and musicianship). You asked for some thoughts.. and no one has responded yet. I just thought that the strumming (were those the improvised bits?) seemed a notch too much more intense than the surroundings. E.g.: the opening very staccato strums seemed more edgy and nervy than the passages that immediately follow. But great playing and maybe this music needs to be intensified a bit?
[LUTE] Cantiones Sarmatoruthenicae CV-CVII
http://torban.org/sarmatoruthenicae/audio/409.mp3 http://torban.org/sarmatoruthenicae/images/409.pdf http://torban.org/sarmatoruthenicae/audio/410.mp3 http://torban.org/sarmatoruthenicae/images/410.pdf http://torban.org/sarmatoruthenicae/audio/411.mp3 http://torban.org/sarmatoruthenicae/images/411.pdf Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ballo Sarmatorutheno XX, was: CVIII - CX , was: Cantiones Sarmatoruthenicae CV-CVII
http://torban.org/balli/images/BSR20.mp3 http://torban.org/balli/images/BSR20.pdf already filmed by the intrepid Eugene Kurenko: http://youtu.be/UUF5KYXdwKY Enjoy. Amities, RT On 3/17/2013 11:04 AM, r.turov...@gmail.com wrote: http://torban.org/sarmatoruthenicae/audio/414.mp3 http://torban.org/sarmatoruthenicae/images/414.pdf http://torban.org/sarmatoruthenicae/audio/413.mp3 http://torban.org/sarmatoruthenicae/images/413.pdf http://torban.org/sarmatoruthenicae/audio/412.mp3 http://torban.org/sarmatoruthenicae/images/412.pdf and http://torban.org/sarmatoruthenicae/images/410Fguit.pdf for baroque guitar! Enjoy! Amities, RT On 3/7/2013 9:11 AM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/409.mp3 http://torban.org/sarmatoruthenicae/images/409.pdf http://torban.org/sarmatoruthenicae/audio/410.mp3 http://torban.org/sarmatoruthenicae/images/410.pdf http://torban.org/sarmatoruthenicae/audio/411.mp3 http://torban.org/sarmatoruthenicae/images/411.pdf Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] new series - BALLI LODOMERICI -
http://torban.org/balli/images/BL1.mp3 http://torban.org/balli/images/BL1.pdf Enjoy! Amities, RT On 3/18/2013 5:55 PM, Roman Turovsky wrote: http://torban.org/balli/images/BSR20.mp3 http://torban.org/balli/images/BSR20.pdf already filmed by the intrepid Eugene Kurenko: http://youtu.be/UUF5KYXdwKY Enjoy. Amities, RT On 3/17/2013 11:04 AM, r.turov...@gmail.com wrote: http://torban.org/sarmatoruthenicae/audio/414.mp3 http://torban.org/sarmatoruthenicae/images/414.pdf http://torban.org/sarmatoruthenicae/audio/413.mp3 http://torban.org/sarmatoruthenicae/images/413.pdf http://torban.org/sarmatoruthenicae/audio/412.mp3 http://torban.org/sarmatoruthenicae/images/412.pdf and http://torban.org/sarmatoruthenicae/images/410Fguit.pdf for baroque guitar! Enjoy! Amities, RT On 3/7/2013 9:11 AM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/409.mp3 http://torban.org/sarmatoruthenicae/images/409.pdf http://torban.org/sarmatoruthenicae/audio/410.mp3 http://torban.org/sarmatoruthenicae/images/410.pdf http://torban.org/sarmatoruthenicae/audio/411.mp3 http://torban.org/sarmatoruthenicae/images/411.pdf Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: new series - BALLI LODOMERICI -
http://torban.org/balli/images/BL3.mp3 http://torban.org/balli/images/BL3.pdf http://torban.org/balli/images/BL2.mp3 http://torban.org/balli/images/BL2.pdf Enjoy! Amities, RT On 3/20/2013 11:20 AM, Roman Turovsky wrote: http://torban.org/balli/images/BL1.mp3 http://torban.org/balli/images/BL1.pdf Enjoy! Amities, RT On 3/18/2013 5:55 PM, Roman Turovsky wrote: http://torban.org/balli/images/BSR20.mp3 http://torban.org/balli/images/BSR20.pdf already filmed by the intrepid Eugene Kurenko: http://youtu.be/UUF5KYXdwKY Enjoy. Amities, RT On 3/17/2013 11:04 AM, r.turov...@gmail.com wrote: http://torban.org/sarmatoruthenicae/audio/414.mp3 http://torban.org/sarmatoruthenicae/images/414.pdf http://torban.org/sarmatoruthenicae/audio/413.mp3 http://torban.org/sarmatoruthenicae/images/413.pdf http://torban.org/sarmatoruthenicae/audio/412.mp3 http://torban.org/sarmatoruthenicae/images/412.pdf and http://torban.org/sarmatoruthenicae/images/410Fguit.pdf for baroque guitar! Enjoy! Amities, RT On 3/7/2013 9:11 AM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/409.mp3 http://torban.org/sarmatoruthenicae/images/409.pdf http://torban.org/sarmatoruthenicae/audio/410.mp3 http://torban.org/sarmatoruthenicae/images/410.pdf http://torban.org/sarmatoruthenicae/audio/411.mp3 http://torban.org/sarmatoruthenicae/images/411.pdf Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: new series - BALLI LODOMERICI -
Well done, Euge! RT On 3/20/2013 2:45 PM, Eugene Kurenko wrote: Thanks for the music Roman! Here is my try: [1]http://www.youtube.com/watch?v=McyorMlaig4 2013/3/20 Roman Turovsky <[2]r.turov...@verizon.net> [3]http://torban.org/balli/images/BL1.mp3 [4]http://torban.org/balli/images/BL1.pdf Enjoy! Amities, RT On 3/18/2013 5:55 PM, Roman Turovsky wrote: [5]http://torban.org/balli/images/BSR20.mp3 [6]http://torban.org/balli/images/BSR20.pdf already filmed by the intrepid Eugene Kurenko: [7]http://youtu.be/UUF5KYXdwKY Enjoy. Amities, RT On 3/17/2013 11:04 AM, [8]r.turov...@gmail.com wrote: [9]http://torban.org/sarmatoruthenicae/audio/414.mp3 [10]http://torban.org/sarmatoruthenicae/images/414.pdf [11]http://torban.org/sarmatoruthenicae/audio/413.mp3 [12]http://torban.org/sarmatoruthenicae/images/413.pdf [13]http://torban.org/sarmatoruthenicae/audio/412.mp3 [14]http://torban.org/sarmatoruthenicae/images/412.pdf and [15]http://torban.org/sarmatoruthenicae/images/410Fguit.pdf for baroque guitar! Enjoy! Amities, RT On 3/7/2013 9:11 AM, Roman Turovsky wrote: [16]http://torban.org/sarmatoruthenicae/audio/409.mp3 [17]http://torban.org/sarmatoruthenicae/images/409.pdf [18]http://torban.org/sarmatoruthenicae/audio/410.mp3 [19]http://torban.org/sarmatoruthenicae/images/410.pdf [20]http://torban.org/sarmatoruthenicae/audio/411.mp3 [21]http://torban.org/sarmatoruthenicae/images/411.pdf Enjoy! Amities, RT To get on or off this list see list information at [22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.youtube.com/watch?v=McyorMlaig4 2. mailto:r.turov...@verizon.net 3. http://torban.org/balli/images/BL1.mp3 4. http://torban.org/balli/images/BL1.pdf 5. http://torban.org/balli/images/BSR20.mp3 6. http://torban.org/balli/images/BSR20.pdf 7. http://youtu.be/UUF5KYXdwKY 8. mailto:r.turov...@gmail.com 9. http://torban.org/sarmatoruthenicae/audio/414.mp3 10. http://torban.org/sarmatoruthenicae/images/414.pdf 11. http://torban.org/sarmatoruthenicae/audio/413.mp3 12. http://torban.org/sarmatoruthenicae/images/413.pdf 13. http://torban.org/sarmatoruthenicae/audio/412.mp3 14. http://torban.org/sarmatoruthenicae/images/412.pdf 15. http://torban.org/sarmatoruthenicae/images/410Fguit.pdf 16. http://torban.org/sarmatoruthenicae/audio/409.mp3 17. http://torban.org/sarmatoruthenicae/images/409.pdf 18. http://torban.org/sarmatoruthenicae/audio/410.mp3 19. http://torban.org/sarmatoruthenicae/images/410.pdf 20. http://torban.org/sarmatoruthenicae/audio/411.mp3 21. http://torban.org/sarmatoruthenicae/images/411.pdf 22. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
[LUTE] Cantiones SRe: CX - CXIV
[1]http://torban.org/sarmatoruthenicae/audio/418.mp3 [2]http://torban.org/sarmatoruthenicae/images/418.pdf [3]http://torban.org/sarmatoruthenicae/audio/417.mp3 [4]http://torban.org/sarmatoruthenicae/images/417.pdf [5]http://torban.org/sarmatoruthenicae/audio/416.mp3 [6]http://torban.org/sarmatoruthenicae/images/416.pdf [7]http://torban.org/sarmatoruthenicae/audio/415.mp3 [8]http://torban.org/sarmatoruthenicae/images/415.pdf [9]http://torban.org/sarmatoruthenicae/audio/414.mp3 [10]http://torban.org/sarmatoruthenicae/images/414.pdf Enjoy, RT -- References 1. http://torban.org/sarmatoruthenicae/audio/418.mp3 2. http://torban.org/sarmatoruthenicae/images/418.pdf 3. http://torban.org/sarmatoruthenicae/audio/417.mp3 4. http://torban.org/sarmatoruthenicae/images/417.pdf 5. http://torban.org/sarmatoruthenicae/audio/416.mp3 6. http://torban.org/sarmatoruthenicae/images/416.pdf 7. http://torban.org/sarmatoruthenicae/audio/415.mp3 8. http://torban.org/sarmatoruthenicae/images/415.pdf 9. http://torban.org/sarmatoruthenicae/audio/415.mp3 10. http://torban.org/sarmatoruthenicae/images/415.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [Le_luth] Cantiones & Choreae
[1]http://torban.org/sarmatoruthenicae/audio/420.mp3 [2]http://torban.org/sarmatoruthenicae/images/420.pdf RT On 4/2/2013 11:11 AM, Roman Turovsky wrote: Ballo Lodomerico V - [3]http://torban.org/balli/images/BL5.mp3 [4]http://torban.org/balli/images/BL5.pdf Cantio Sarmatoruthenica CXV - [5]http://torban.org/sarmatoruthenicae/audio/419.mp3 [6]http://torban.org/sarmatoruthenicae/images/419.pdf Cantio Sarmatoruthenica CXX - [7]http://torban.org/sarmatoruthenicae/audio/423stabat.mp3 [8]http://torban.org/sarmatoruthenicae/images/423stabat.pdf I had a good fortune to sing this last item, which may be heard and seen here - [9]http://www.youtube.com/watch?v=btZgnUiOaNM Enjoy! Amities, RT On 3/28/2013 7:42 PM, Roman Turovsky wrote: > [1][10]http://torban.org/sarmatoruthenicae/audio/418.mp3 > [2][11]http://torban.org/sarmatoruthenicae/images/418.pdf > [3][12]http://torban.org/sarmatoruthenicae/audio/417.mp3 > [4][13]http://torban.org/sarmatoruthenicae/images/417.pdf > [5][14]http://torban.org/sarmatoruthenicae/audio/416.mp3 > [6][15]http://torban.org/sarmatoruthenicae/images/416.pdf > [7][16]http://torban.org/sarmatoruthenicae/audio/415.mp3 > [8][17]http://torban.org/sarmatoruthenicae/images/415.pdf > [9][18]http://torban.org/sarmatoruthenicae/audio/414.mp3 > [10][19]http://torban.org/sarmatoruthenicae/images/414.pdf > Enjoy, > RT > -- > > References > > 1. [20]http://torban.org/sarmatoruthenicae/audio/418.mp3 > 2. [21]http://torban.org/sarmatoruthenicae/images/418.pdf > 3. [22]http://torban.org/sarmatoruthenicae/audio/417.mp3 > 4. [23]http://torban.org/sarmatoruthenicae/images/417.pdf > 5. [24]http://torban.org/sarmatoruthenicae/audio/416.mp3 > 6. [25]http://torban.org/sarmatoruthenicae/images/416.pdf > 7. [26]http://torban.org/sarmatoruthenicae/audio/415.mp3 > 8. [27]http://torban.org/sarmatoruthenicae/images/415.pdf > 9. [28]http://torban.org/sarmatoruthenicae/audio/415.mp3 > 10. [29]http://torban.org/sarmatoruthenicae/images/415.pdf > > > To get on or off this list see list information at > [30]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > __._,_.___ [31]Repondre `a expediteur | [32]Repondre `a groupe | [33]Repondre en mode Web | [34]Nouvelle discussion [35]Toute la discussion (1) Activites recentes: [36]Aller sur votre groupe [37]Yahoo! Groupes Passer A : [38]Texte seulement, [39]RA(c)sumA(c) du jour o [40]Desinscription o [41]Conditions dutilisation . [stime64915486] __,_._,___ -- References 1. http://torban.org/sarmatoruthenicae/audio/420.mp3 2. http://torban.org/sarmatoruthenicae/images/420.pdf 3. http://torban.org/balli/images/BL5.mp3 4. http://torban.org/balli/images/BL5.pdf 5. http://torban.org/sarmatoruthenicae/audio/419.mp3 6. http://torban.org/sarmatoruthenicae/images/419.pdf 7. http://torban.org/sarmatoruthenicae/audio/423stabat.mp3 8. http://torban.org/sarmatoruthenicae/images/423stabat.pdf 9. http://www.youtube.com/watch?v=btZgnUiOaNM 10. http://torban.org/sarmatoruthenicae/audio/418.mp3 11. http://torban.org/sarmatoruthenicae/images/418.pdf 12. http://torban.org/sarmatoruthenicae/audio/417.mp3 13. http://torban.org/sarmatoruthenicae/images/417.pdf 14. http://torban.org/sarmatoruthenicae/audio/416.mp3 15. http://torban.org/sarmatoruthenicae/images/416.pdf 16. http://torban.org/sarmatoruthenicae/audio/415.mp3 17. http://torban.org/sarmatoruthenicae/images/415.pdf 18. http://torban.org/sarmatoruthenicae/audio/414.mp3 19. http://torban.org/sarmatoruthenicae/images/414.pdf 20. http://torban.org/sarmatoruthenicae/audio/418.mp3 21. http://torban.org/sarmatoruthenicae/images/418.pdf 22. http://torban.org/sarmatoruthenicae/audio/417.mp3 23. http://torban.org/sarmatoruthenicae/images/417.pdf 24. http://torban.org/sarmatoruthenicae/audio/416.mp3 25. http://torban.org/sarmatoruthenicae/images/416.pdf 26. http://torban.org/sarmatoruthenicae/audio/415.mp3 27. http://torban.org/sarmatoruthenicae/images/415.pdf 28. http://torban.org/sarmatoruthenicae/audio/415.mp3 29. http://torban.org/sarmatoruthenicae/images/415.pdf 30. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html 31. mailto:r.turov...@verizon.net?subject=Re%A0%3A%20Cantiones%20%26%20Choreae 32. mailto:le_l...@yahoogroupes.fr?subject=Re%A0%3A%20Cantiones%20%26%20Choreae 33. http://fr.groups.yahoo.com/group/Le_luth/post;_ylc=X3oDMTJyZWk3N2ZqBF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARtc2dJZAMxNDg2NgRzZWMDZnRyBHNsawNycGx5BHN0aW1lAzEzNjQ5MTU0ODY-?act=reply&messageNum866 34. http://fr.groups.yahoo.com/group/Le_luth/post;_ylc=X3oDMTJmdWw3ZjBuBF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARzZWMDZnRyBHNsaw
[LUTE] Re: [Le_luth] Cantiones & Choreae
Balli Lodomerici VI & VII - [1]http://torban.org/balli/images/BL7.mp3 [2]http://torban.org/balli/images/BL7.pdf [3]http://torban.org/balli/images/BL6.mp3 [4]http://torban.org/balli/images/BL6.pdf Enjoy! Amities, RT On 4/3/2013 1:55 PM, Roman Turovsky wrote: [5]http://torban.org/sarmatoruthenicae/audio/420.mp3 [6]http://torban.org/sarmatoruthenicae/images/420.pdf RT On 4/2/2013 11:11 AM, Roman Turovsky wrote: Ballo Lodomerico V - [7]http://torban.org/balli/images/BL5.mp3 [8]http://torban.org/balli/images/BL5.pdf Cantio Sarmatoruthenica CXV - [9]http://torban.org/sarmatoruthenicae/audio/419.mp3 [10]http://torban.org/sarmatoruthenicae/images/419.pdf Cantio Sarmatoruthenica CXX - [11]http://torban.org/sarmatoruthenicae/audio/423stabat.mp3 [12]http://torban.org/sarmatoruthenicae/images/423stabat.pdf I had a good fortune to sing this last item, which may be heard and seen here - [13]http://www.youtube.com/watch?v=btZgnUiOaNM Enjoy! Amities, RT On 3/28/2013 7:42 PM, Roman Turovsky wrote: > [1][14]http://torban.org/sarmatoruthenicae/audio/418.mp3 > [2][15]http://torban.org/sarmatoruthenicae/images/418.pdf > [3][16]http://torban.org/sarmatoruthenicae/audio/417.mp3 > [4][17]http://torban.org/sarmatoruthenicae/images/417.pdf > [5][18]http://torban.org/sarmatoruthenicae/audio/416.mp3 > [6][19]http://torban.org/sarmatoruthenicae/images/416.pdf > [7][20]http://torban.org/sarmatoruthenicae/audio/415.mp3 > [8][21]http://torban.org/sarmatoruthenicae/images/415.pdf > [9][22]http://torban.org/sarmatoruthenicae/audio/414.mp3 > [10][23]http://torban.org/sarmatoruthenicae/images/414.pdf > Enjoy, > RT [stime65011724] __,_._,___ -- References 1. http://torban.org/balli/images/BL7.mp3 2. http://torban.org/balli/images/BL7.pdf 3. http://torban.org/balli/images/BL6.mp3 4. http://torban.org/balli/images/BL6.pdf 5. http://torban.org/sarmatoruthenicae/audio/420.mp3 6. http://torban.org/sarmatoruthenicae/images/420.pdf 7. http://torban.org/balli/images/BL5.mp3 8. http://torban.org/balli/images/BL5.pdf 9. http://torban.org/sarmatoruthenicae/audio/419.mp3 10. http://torban.org/sarmatoruthenicae/images/419.pdf 11. http://torban.org/sarmatoruthenicae/audio/423stabat.mp3 12. http://torban.org/sarmatoruthenicae/images/423stabat.pdf 13. http://www.youtube.com/watch?v=btZgnUiOaNM 14. http://torban.org/sarmatoruthenicae/audio/418.mp3 15. http://torban.org/sarmatoruthenicae/images/418.pdf 16. http://torban.org/sarmatoruthenicae/audio/417.mp3 17. http://torban.org/sarmatoruthenicae/images/417.pdf 18. http://torban.org/sarmatoruthenicae/audio/416.mp3 19. http://torban.org/sarmatoruthenicae/images/416.pdf 20. http://torban.org/sarmatoruthenicae/audio/415.mp3 21. http://torban.org/sarmatoruthenicae/images/415.pdf 22. http://torban.org/sarmatoruthenicae/audio/414.mp3 23. http://torban.org/sarmatoruthenicae/images/414.pdf To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Peter Damsma: RT/JJS passacaglia for theorbo
http://youtu.be/HxZXUbYr_8g with Peter Damsma! Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Frank from Milan
To tell you how I know this: Some 10 years ago I embarked on a search for a branch of the family that was missing for 80 years in South Africa (their surname was SAUTSCHECK, and the search was successful, all SouthAfrican cousins were found! (the few NorthAmerican were not...)). In the process I came into contact with professional historians/genealogists, and have been bluntly informed by them that THERE WERE NO NAME CHANGES AT ELLIS ISLAND, for aforementioned reasons. What was in fact more common is that many people were traveling with forged, bought or stolen documents. There were horse-thieves and revolutionaries of many colors among our ancestors. RT On 5/8/2013 3:15 PM, Dan Winheld wrote: Name checking against a ship's manifest sounds too logical to be dismissed. More likely mangling happened during hasty, crowded embarkations; where legality & taxonomic scrupulousness were more ephemeral- but the errors only coming to light at Ellis Island, where the shouting itself (according to descendants of the original Choderowski to Toder transformation) finally occurred. Naturalization? Sure- passport office? Not so sure- but maybe any old spelling just to expedite getting out of the old country. Congratulations on bringing Turovsky through the tunnel unscathed, and we know my grandad was himself to blame for surname self-mangling. As one of my wife's other relatives once said ruefully in regard to a surprise spelling- "Vell, I haff alveys pronounced mine wubbleyous mit a "Vee". Dan On 5/8/2013 11:33 AM, r.turov...@gmail.com wrote: Dan, The purported "Ellis Island" name manglings is a myth. Every immigrant's name had to be and was matched to the ship's manifest, and any deviation was massively illegal. So any changes people claim were made either at naturalization, or at the passport office in the "old country". Cheers, RT On 5/8/2013 12:05 PM, Dan Winheld wrote: For a while (in the Siena book, anyway) Francesco was "da Parigi"- but in the end just a vacation- "Busman's Holiday". And of course, Alberto da Ripa- who stayed in France, but then Francophoned to "de Rippe", like Jean Paul Paladin- "Had lute, would travel". It can get complicated; Ottaviano dei Petrucci- da Fossombrone & Venezia. Some European surnames imposed on the unwilling were less than complimentary- Katzenellenbogen (Cat's Elbow) for example. And in the United States there is a whole class of newly manufactured names based solely on language mangling at Ellis Island by overworked & undereducated immigration officials. My wife's mother's family name "Choderowski" is now "Toder". My own grandfather, fluent in Russian and French, but not yet English, attempted to anglicise the family name from "Winogradski" to Winheld. Swing and a miss; no one to blame but himself- "Winheld" has no meaning in any terrestrial tongue. Danielito de New York, but "da Berkeley" since 1987. On 5/8/2013 5:24 AM, Christopher Wilke wrote: Tobiah, Nothing wrong with calling him "da Milano," although in actually usage he's one of the few, like Michelangelo or Josquin, who are frequently referred to by first name. We do say, "da Vinci." Yes, this literally translates to "of __," but place names were - and are - common surnames. They happen in most European languages, i.e. the French "de Visee," "de Gaulle," etc. Sometimes, the modifier might be honorific or an indication of noble lineage; sometimes not. Anton von Webern had to drop his "von" because of Austrian government regulation following WWI. The first part may be left off, but this is optional and largely dictated by tradition. We usually refer to Giovanni Pierluigi as "Palestrina" and seldom "da Palestrina," and it is more common to hear of "Beethoven" rather than "van Beethoven" - which is actually a Dutch, rather than German name. (Or you could go with "Ludwig van," like in a Clockwork Orange.) On the other hand, one never hears about "Gogh" without his "van." Chris Dr. Christopher Wilke D.M.A. Lutenist, Guitarist and Composer www.christopherwilke.com --- On Tue, 5/7/13, Tobiah wrote: From: Tobiah Subject: [LUTE] Frank from Milan To: "'Lute Net'" Date: Tuesday, May 7, 2013, 10:43 PM Ok, my last college class was 20 year ago now. I thought that I was told that "Francesco Canova da Milano" basically meant "Francesco Canova from Milan (Italy)". I was reading the surprisingly brief wikipedia article about the aforementioned individual, and I came across this: A composition called "Canzona by Francesco da Milano" (better known as the song "The City of Gold") is commonly misattributed to da Milano. So, if I am not grossly mistaken about my interpretation of the entire handle with which we refer to the beloved 'Frank', then I wonder if it can at all be correct to refer to him as
[LUTE] Re: Frank from Milan
It ended up on my shelf! Sorry to disappoint you, but Elhaik theory has already been discredited: he made a lot of idiotic claims, such as Georgians and Armenians having been proto-Khazar etc. He seems to be one of those "scholars" whose goal is refute the connection between Ashkenazim and Palestine. RT On 5/8/2013 5:07 PM, Dan Winheld wrote: Roman, now we need to know where all the South African lute music ended up. Your work is not done! "What was in fact more common is that many people were traveling with forged, bought or stolen documents. There were horse-thieves and revolutionaries of many colors among our ancestors." - And many, many, lines of ancestral myth-making. "Creation Stories" did not stop with creation stories. People, from nuclear families to whole clan and tribal groups, are always changing their pasts. Solid genealogical studies sometimes throw much-needed cold water on lovingly nurtured bogus histories and also find revelatory explanations for old knotty conundrums. My ex-"Irish" buddy has a life-long fascination with all matters Judaica- he sent me this link to the roots of the Ashkenazim: [1]http://www.sciencedaily.com/releases/2013/01/130116195333.htm If true, could explain the Eurasian/Asiatic features of many of mine & my wife's late 19th Century "Russian" Jewish ancestors. This is getting much too interesting! Francesco da Somewhere indeed! Dan On 5/8/2013 12:50 PM, Roman Turovsky wrote: To tell you how I know this: Some 10 years ago I embarked on a search for a branch of the family that was missing for 80 years in South Africa (their surname was SAUTSCHECK, and the search was successful, all SouthAfrican cousins were found! (the few NorthAmerican were not...)). In the process I came into contact with professional historians/genealogists, and have been bluntly informed by them that THERE WERE NO NAME CHANGES AT ELLIS ISLAND, for aforementioned reasons. What was in fact more common is that many people were traveling with forged, bought or stolen documents. There were horse-thieves and revolutionaries of many colors among our ancestors. RT On 5/8/2013 3:15 PM, Dan Winheld wrote: Name checking against a ship's manifest sounds too logical to be dismissed. More likely mangling happened during hasty, crowded embarkations; where legality & taxonomic scrupulousness were more ephemeral- but the errors only coming to light at Ellis Island, where the shouting itself (according to descendants of the original Choderowski to Toder transformation) finally occurred. Naturalization? Sure- passport office? Not so sure- but maybe any old spelling just to expedite getting out of the old country. Congratulations on bringing Turovsky through the tunnel unscathed, and we know my grandad was himself to blame for surname self-mangling. As one of my wife's other relatives once said ruefully in regard to a surprise spelling- "Vell, I haff alveys pronounced mine wubbleyous mit a "Vee". Dan On 5/8/2013 11:33 AM, [2]r.turov...@gmail.com wrote: Dan, The purported "Ellis Island" name manglings is a myth. Every immigrant's name had to be and was matched to the ship's manifest, and any deviation was massively illegal. So any changes people claim were made either at naturalization, or at the passport office in the "old country". Cheers, RT On 5/8/2013 12:05 PM, Dan Winheld wrote: For a while (in the Siena book, anyway) Francesco was "da Parigi"- but in the end just a vacation- "Busman's Holiday". And of course, Alberto da Ripa- who stayed in France, but then Francophoned to "de Rippe", like Jean Paul Paladin- "Had lute, would travel". It can get complicated; Ottaviano dei Petrucci- da Fossombrone & Venezia. Some European surnames imposed on the unwilling were less than complimentary- Katzenellenbogen (Cat's Elbow) for example. And in the United States there is a whole class of newly manufactured names based solely on language mangling at Ellis Island by overworked & undereducated immigration officials. My wife's mother's family name "Choderowski" is now "Toder". My own grandfather, fluent in Russian and French, but not yet English, attempted to anglicise the family name from "Winogradski" to Winheld. Swing and a miss; no one to blame but himself- "Winheld" has no meaning in any terrestrial tongue. Danielito de New York, but "da Berkeley" since 1987. -- References 1. http://www.sciencedaily.com/releases/2013/01/130116195333.htm 2. mailto:r.turov...@gmail.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] CXXI - CXXII
in c - http://torban.org/sarmatoruthenicae/audio/425.mp3 http://torban.org/sarmatoruthenicae/images/425.pdf in d - http://torban.org/sarmatoruthenicae/audio/426.mp3 http://torban.org/sarmatoruthenicae/images/426.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] CXXIII
http://torban.org/sarmatoruthenicae/audio/427.mp3 http://torban.org/sarmatoruthenicae/images/427.pdf RT On 5/12/2013 2:14 PM, Roman Turovsky wrote: in c - http://torban.org/sarmatoruthenicae/audio/425.mp3 http://torban.org/sarmatoruthenicae/images/425.pdf in d - http://torban.org/sarmatoruthenicae/audio/426.mp3 http://torban.org/sarmatoruthenicae/images/426.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] CXXIV
a humorous item, for a change! - http://torban.org/sarmatoruthenicae/audio/428.mp3 http://torban.org/sarmatoruthenicae/images/428.pdf RT On 5/13/2013 6:32 PM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/427.mp3 http://torban.org/sarmatoruthenicae/images/427.pdf RT On 5/12/2013 2:14 PM, Roman Turovsky wrote: in c - http://torban.org/sarmatoruthenicae/audio/425.mp3 http://torban.org/sarmatoruthenicae/images/425.pdf in d - http://torban.org/sarmatoruthenicae/audio/426.mp3 http://torban.org/sarmatoruthenicae/images/426.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ballo Lodomerico VIII
http://torban.org/balli/images/BL8.mp3 http://torban.org/balli/images/BL8.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] CXXV-CXXVIII
http://torban.org/sarmatoruthenicae/audio/432.mp3 http://torban.org/sarmatoruthenicae/images/432.pdf http://torban.org/sarmatoruthenicae/audio/431.mp3 <http://torban.org/sarmatoruthenicae/audio/432.mp3> http://torban.org/sarmatoruthenicae/images/431.pdf <http://torban.org/sarmatoruthenicae/images/432.pdf> http://torban.org/sarmatoruthenicae/audio/430.mp3 <http://torban.org/sarmatoruthenicae/audio/432.mp3> http://torban.org/sarmatoruthenicae/images/430.pdf <http://torban.org/sarmatoruthenicae/images/432.pdf> http://torban.org/sarmatoruthenicae/audio/429.mp3 <http://torban.org/sarmatoruthenicae/audio/432.mp3> http://torban.org/sarmatoruthenicae/images/429.pdf <http://torban.org/sarmatoruthenicae/images/432.pdf> Enjoy, Amities, RT On 5/14/2013 4:15 PM, Roman Turovsky wrote: a humorous item, for a change! - http://torban.org/sarmatoruthenicae/audio/428.mp3 http://torban.org/sarmatoruthenicae/images/428.pdf RT On 5/13/2013 6:32 PM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/427.mp3 http://torban.org/sarmatoruthenicae/images/427.pdf RT On 5/12/2013 2:14 PM, Roman Turovsky wrote: in c - http://torban.org/sarmatoruthenicae/audio/425.mp3 http://torban.org/sarmatoruthenicae/images/425.pdf in d - http://torban.org/sarmatoruthenicae/audio/426.mp3 http://torban.org/sarmatoruthenicae/images/426.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: For and against Alina
You forgot to mention it is by Arvo Part! RT On 6/26/2013 5:45 AM, WALSH STUART wrote: Thanks to RT - and for the work on the soundfile http://www.youtube.com/watch?v=AxaLfUtWwwI Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ballo Lodomerico X -
http://youtu.be/9938xRTKO5M with Stuart Walsh! RT On 7/2/2013 5:24 PM, r.turov...@gmail.com wrote: New: Ballo Lodomerico X - http://torban.org/balli/images/BL10.mp3 http://torban.org/balli/images/BL10.pdf ! Ballo Lodomerico VIII - Stuart Walsh - http://torban.org/balli/images/krynR.mp3 http://torban.org/balli/images/BL8.pdf ! Enjoy. Amities, RT -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: IL BARBARO NEL GIARDINO - Seattle, tonight!
And here's the audio - RT: Il Barbaro nel Giardino Armonico, sinfonia a 6, John Lenti (theorbo), with members of the Octava Chamber Orchestra - http://torban.org/audio/Barbaro_concert.mp3 Enjoy. Amities, RT On 7/27/2013 11:22 AM, r.turov...@gmail.com wrote: for those of you who are in the Seattle area: IL BARBARO NEL GIARDINO ARMONICO, a short sinfonia by yours truly, for theorbo and strings, will have its world premiere today - July 27, in the capable hands of [1]John Lenti, [2]Matthew C. Weiss and friends! also on the program are pieces by such excellent composers as Matthew C. Weiss, [3]Joseph Ford, and [4]Joseph Lee Graham ! [5]http://octavachamberorchestra.com/ Be there, or be square! Cheers, RT -- References 1. https://www.facebook.com/johnlenti?directed_target_id=0 2. https://www.facebook.com/MatthewCharlesWeiss?directed_target_id=0 3. https://www.facebook.com/joseph.ford.3158?directed_target_id=0 4. https://www.facebook.com/j.lee.graham?directed_target_id=0 5. http://octavachamberorchestra.com/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: general public Lute awareness
On 8/8/2013 7:57 PM, David Tayler wrote: I mention this because of the puzzling stories about people who can play the keyboard and transpose and so on. That is an entry level skill, and a requirement. Really??? Most conservatory trained pianists I know are trained to play what's written, only what's written and exactly what's written. I know ONE who can transpose. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: general public Lute awareness
Marketing is not necessarily good for culture. Especially marketing to the lowest possible denominator. Culture is supposed to raise the listener/spectator to its level, not to descend to his. Marketing Fuenllana to SCA is hopeless, fulile, and amounts to the proverbial pearls before swine. RT On 8/8/2013 9:57 PM, t...@heartistrymusic.com wrote: Regarding "Society for Creative Anacronism" (SCA): I see, and resonate with, your sentiments here. BUT - It's MARKETING! AND - it's raising awareness amongst the "less educated", but INTERESTED miniscule fraction of the public who COULD be attracted to attend YOUR concerts. OK - I'll agree that a lot of folks who get into SCA and go to "Renaissance Festivals" have a very non-HIP viewpoint on what it's all about. For them it's basically play-acting, in the same way as those who attend Civil War Re-enactments, or Rendezvous Re-enactments. It creates for them "warm-fuzzy" feelings and an escape from every day hum-drum. BUT - I think these are people whose hearts are in the right place, and who could be enticed to concerts, and who could be willing open books to learn what life and music REALLY was like. And they spend money like fiends! These are people who would buy Sting's "Songs From The Labyrinth". And don't diss the guy - he introduced this music to a HUGE cross-section of listeners who otherwise would never have given it the time of day. Thank him, and Edin for helping draw attention to the music you play. Just because a person has a warped view of reality, If they had ultimate respect for what you do, would you not want to see them as an audience member at your next concert? BTW - don't ALL of us have slightly warped views of reality? (Except for me, of course ... ) Tom My sentiment exactly. RT On 8/8/2013 6:12 PM, Braig, Eugene wrote: . . . Many (certainly not all) somehow believing that assuming a bad cockney accent; whacking each other with wooden weapons while feigning the inability to use struck limbs; and listening to modern Irish, Scottish, or English folk songs strummed by steel-strung acoustic instruments somehow relates to late-medieval/early-renaissance life. If that's your thing, go for it. Myself, I kinda prefer music. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of r.turov...@gmail.com Sent: Thursday, August 08, 2013 5:37 PM To: Stephen Fryer Cc: t...@heartistrymusic.com; Nancy Carlin; erne...@aquila.mus.br; R. Mattes; lute@cs.dartmouth.edu Subject: [LUTE] Re: general public Lute awareness For those who don't speak American, and don't know American mores: SCA is the Society for Creative Anachronism, and it has nothing to do with NYSCA, which is the New York State Council on the Arts. The latter is a venerable institution that funds arts here, and the former is group of uncultured boors in silly costumes who managed to completely destroy the NY Medieval Festival at Cloisters. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: general public Lute awareness
Considering that most hoi polloi listen with their eyes: Youtube remains the most effective marketing tool. Facebook WAS EFFECTIVE for a while, but it started limiting how many subscribers see musicians/bands "fan"pages (20%), to save on the bandwidth. RT On 8/8/2013 11:29 PM, t...@heartistrymusic.com wrote: Roman Turovsky wrote: Marketing is not necessarily good for culture. Especially marketing to the lowest possible denominator. Culture is supposed to raise the listener/spectator to its level, not to descend to his. Marketing Fuenllana to SCA is hopeless, fulile, and amounts to the proverbial pearls before swine. RT RT - I thought this thread was about how to increase general public lute awareness ... EVEN THOUGH we are SOOO much loftier than they! Tom Draughon On 8/8/2013 9:57 PM, t...@heartistrymusic.com wrote: Regarding "Society for Creative Anacronism" (SCA): I see, and resonate with, your sentiments here. BUT - It's MARKETING! AND - it's raising awareness amongst the "less educated", but INTERESTED miniscule fraction of the public who COULD be attracted to attend YOUR concerts. OK - I'll agree that a lot of folks who get into SCA and go to "Renaissance Festivals" have a very non-HIP viewpoint on what it's all about. For them it's basically play-acting, in the same way as those who attend Civil War Re-enactments, or Rendezvous Re-enactments. It creates for them "warm-fuzzy" feelings and an escape from every day hum-drum. BUT - I think these are people whose hearts are in the right place, and who could be enticed to concerts, and who could be willing open books to learn what life and music REALLY was like. And they spend money like fiends! These are people who would buy Sting's "Songs From The Labyrinth". And don't diss the guy - he introduced this music to a HUGE cross-section of listeners who otherwise would never have given it the time of day. Thank him, and Edin for helping draw attention to the music you play. Just because a person has a warped view of reality, If they had ultimate respect for what you do, would you not want to see them as an audience member at your next concert? BTW - don't ALL of us have slightly warped views of reality? (Except for me, of course ... ) Tom My sentiment exactly. RT On 8/8/2013 6:12 PM, Braig, Eugene wrote: . . . Many (certainly not all) somehow believing that assuming a bad cockney accent; whacking each other with wooden weapons while feigning the inability to use struck limbs; and listening to modern Irish, Scottish, or English folk songs strummed by steel-strung acoustic instruments somehow relates to late-medieval/early-renaissance life. If that's your thing, go for it. Myself, I kinda prefer music. -Original Message- From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of r.turov...@gmail.com Sent: Thursday, August 08, 2013 5:37 PM To: Stephen Fryer Cc: t...@heartistrymusic.com; Nancy Carlin; erne...@aquila.mus.br; R. Mattes; lute@cs.dartmouth.edu Subject: [LUTE] Re: general public Lute awareness For those who don't speak American, and don't know American mores: SCA is the Society for Creative Anachronism, and it has nothing to do with NYSCA, which is the New York State Council on the Arts. The latter is a venerable institution that funds arts here, and the former is group of uncultured boors in silly costumes who managed to completely destroy the NY Medieval Festival at Cloisters. RT Tom Draughon Heartistry Music http://www.heartistrymusic.com/artists/tom.html 714 9th Avenue West Ashland, WI 54806 715-682-9362 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Bream
Apparently a nasty hoax. RT On 9/4/2013 9:43 AM, Rob MacKillop wrote: Thanks, Stephen. Unbelievable. On 4 September 2013 14:38, Stephen Kenyon <[1]s...@jacaranda-music.com> wrote: The rumour seems to have started on the acousticguitarforum, allegedly by his nephew, and it has been corrected thus; [2]http://www.acousticguitarforum.com/forums/showthread.php?t09016 Stephen On 4 Sep 2013, at 12:10, Rob MacKillop wrote: Any news on Bream's health? I got an announcement of Facebook that Bream had died, then another saying it was just a rumour, and he hasn't...Very annoying!! I would really like to know! Anyone know anything with certainty? Rob -- To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:s...@jacaranda-music.com 2. http://www.acousticguitarforum.com/forums/showthread.php?t09016 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Edlinger Lutes
Shallow body also greatly reduces left arm strain. RT On 10/19/2013 4:09 PM, sterling price wrote: I have been playing an Edlinger baroque lute for 19 years. I think I am partial to lutes of the Edlinger school, more so than Hoffman or Widhalm. I also play a Burkholzer lute which could be considered an Edlinger, as he did the conversion. The Edlinger baroque lute does have a very shallow body, which makes it quite easy to hold. The one I have is also quite loud, but this might be due to it's size (76cm) and ebony ribs. Sterling On Friday, October 18, 2013 4:17 PM, Dan Winheld wrote: Oops! I just saw that you said theorbo -forget everything I just wrote. No experience these things! On 10/18/2013 12:04 PM, BENJAMIN NARVEY wrote: >Dear All, > >I am getting a small theorbo made after Edlinger, but my lute maker >feels the model is excessively thin; she is worried about >sound/projection. I should think the sound may be less complex than >deeper lutes, but perhaps I will have more projection since less sound >will get trapped in the belly. > >Does anyone have experience with Edlinger-type models? I would like to >stay as close to the original body as possible and see what happens, >but the maker has never made anything so shallow before and is getting >slightly cold feet about it. > >Any and all thoughts would be much appreciated! > >In any event, it should be a dream to hold! > >Bonne musique, > >Benjamin > >-- >[1]www.luthiste.com >t +33 (0) 1 44 27 03 44 >p/m +33 (0) 6 71 79 98 98 >-- > > References > >1. [1]http://www.luthiste.com/ > > > To get on or off this list see list information at > [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- References 1. http://www.luthiste.com/ 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ballo Lodomerico XI
http://torban.org/balli/images/BL11.mp3 http://torban.org/balli/images/BL11.pdf Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ballo Lodomerico XII
On 10/22/2013 1:50 PM, Roman Turovsky wrote: http://torban.org/balli/images/BL11.mp3 http://torban.org/balli/images/BL11.pdf Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html http://torban.org/balli/images/BL12.mp3 http://torban.org/balli/images/BL12.pdf RT
[LUTE] Re: intavolations 47
Is the initial Ab (over E-maj) found in Perti's Adoramus? Or is it a typo? RT On 10/26/2013 11:15 AM, Anton Höger wrote: Hi, there are new Lute Intavolations on IMSLP! http://lute-ensemble-tabulatures.npage.de/ For Voice and lute-- New! Perti, Giacomo Antonio Adoramus te, Christe I Sopran & Lute http://imslp.org/wiki/Adoramus_te_(Perti,_Giacomo_Antonio) Marenzio, Luca Ahi, dispietata morte! Sopran & Lute http://imslp.org/wiki/Ahi_dispietata_morte,_ahi_crudel_vita_(Marenzio,_Luca) Rore, Cipriano de Non e ch'il duol mi scemi (Bassano) Sopran & Lute http://imslp.org/wiki/Non_è_ch'il_duol_mi_scemi_(Rore,_Cipriano_de) (The voice diminutions are originally by Bassano!) Marenzio, Luca Dissi à l'amata mia Sopran & Lute http://imslp.org/wiki/Dissi_a_l’amata_mia_lucida_stella_(Marenzio,_Luca) Marenzio, Luca Come doglia fin qui fu meco et pianto Sopran & Lute http://imslp.org/wiki/Dolci_son_le_quadrella_(Marenzio,_Luca)#IMSLP300617 Marenzio, Luca Vezzosi augelli Sopran & Lute http://imslp.org/wiki/Vezzosi_augelli_in_fra_le_verdi_fronde_(Marenzio,_Luca)#IMSLP300619 Manchicourt, Pierre de Je changeraySopran & Lute http://imslp.org/wiki/Je_changeray_(Manchicourt,_Pierre_de)#IMSLP300620 Ghizzolo, Giovanni Aura ch'intorno Sopran & Lute http://imslp.org/wiki/Aura_ch'intorno_(Ghizzolo,_Giovanni)#IMSLP300622 ---2 Voices and g-Lute New! Farnaby, Giles Among The Daffadillies Sopran, Bass & Lute http://imslp.org/wiki/Among_The_Daffadillies_(Farnaby,_Giles) Farnaby, Giles Blind Love Was Shooting Sopran, Bass & Lute http://imslp.org/wiki/Blind_Love_Was_Shooting_(Farnaby,_Giles)#IMSLP299763 Farnaby, Giles Daphne On The Rainbow Sopran, Bass & Lute http://imslp.org/wiki/Daphne_On_The_Rainbow_(Farnaby,_Giles) Farnaby, Giles Pearce Did Love Fair Petronel Sopran, Bass & Lute http://imslp.org/wiki/Pearce_Did_Love_Fair_Petronel_(Farnaby,_Giles) Farnaby, Giles Pearce Did Dance With PetronellaSopran, Bass & Lute http://imslp.org/wiki/Pearce_Did_Dance_With_Petronella_(Farnaby,_Giles)#IMSLP299869 Farnaby, Giles Lady, when I behold your passions Sopran, Bass & Lute http://imslp.org/wiki/Lady,_when_I_behold_your_passions_(Farnaby,_Giles)#IMSLP299933 Farnaby, Giles My Lady's Coloured Cheeks Sopran, Bass & Lute http://imslp.org/wiki/My_Lady's_Coloured_Cheeks_(Farnaby,_Giles) Farnaby, Giles Sometime she would Sopran, Bass & Lute http://imslp.org/wiki/Sometime_she_would_(Farnaby,_Giles)#IMSLP299940 Farnaby, Giles The wavering planet 2 Sopranos & Lute http://imslp.org/wiki/The_wavering_planet_(Farnaby,_Giles) Farnaby, Giles Thrice Blessed Be The Giver 2 Sopranos & Lute http://imslp.org/wiki/Thrice_Blessed_Be_The_Giver_(Farnaby,_Giles)#IMSLP299943 Marenzio, Luca Cantantibus organis Sopran, Bass & Lute http://imslp.org/wiki/Cantantibus_organis_(Marenzio,_Luca) Good luck Anton -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] OT: The Highest Form Of Flattery
dear e-friends, Ca.2004 I arranged a folk Ukrainian romance as a lute minuet, and made some alterations to the melody, so it would fit the instrument better. Jason Yoshida recorded it in 2007. Yoy may hear it here - [1]http://torban.org/audio/romance2.mp3 Yesterday I had a good fortune to hear a recent canzonetta by Guido Morini (of Accordone Ens.) LA TENUE FOGLIE, sung by none other than incomparable Marco Beasley: [2]https://www.youtube.com/ watch?v=RTjPfB5SfcA and it occurred to me that it resembles (I'd say too much) that Ukrainian folk romance. Compare and enjoy! Amities, RT -- References 1. http://torban.org/audio/romance2.mp3 2. https://www.facebook.com/l.php?u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DRTjPfB5SfcA&h=QAQH-HTYTAQE89lsE6HD5KrnN9vP4vOVlpVnlB0QHwaG4Ig&s=1 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica 133
http://torban.org/sarmatoruthenicae/audio/437.mp3 http://torban.org/sarmatoruthenicae/audio/437.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Ballo Lodomerico 13
http://torban.org/balli/images/BL13.mp3 http://torban.org/balli/images/BL13.pdf RT On 11/26/2013 10:57 AM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/437.mp3 http://torban.org/sarmatoruthenicae/audio/437.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica 135
http://torban.org/sarmatoruthenicae/audio/438.mp3 http://torban.org/sarmatoruthenicae/audio/438.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica 136
http://torban.org/sarmatoruthenicae/audio/439.mp3 http://torban.org/sarmatoruthenicae/images/439.pdf RT On 11/29/2013 10:52 PM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/438.mp3 http://torban.org/sarmatoruthenicae/images/438.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Segovia whatever
That happens often enough. I have recently attended a Hoppy concert in NYC that showed no evidence of lutenistic notability. I've heard him twice before and those times his playing was a lot worse. In yet one more instance at the Metropolitan Museum he was accompanying Andrea von Ramm, and that was probably the worst concert I've attended, ever. Incompetence x 2. RT On 12/16/2013 6:42 AM, gary wrote: How did such an incompetent slouch ever manage to have the likes of Julian Bream and John Williams singing his praises and traveling half way around the world to sit at his arrogant feet? Gary To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Mille Regretz?
You live in a blessed State. Things are a bit more severe in our neck of the woods. RT On 12/18/2013 2:36 PM, Sean Smith wrote: Yes, they are. No student ID req'd. Something about because our tax dollars went to create those libraries we get to see the insides - maybe someone more knowledgable could set me straight if deemed relevant. No, we can't check out books and they'll hold our drivers' licenses while we peruse the fancy stuff from Case X. Years ago I remember asking for what I thought would be a facsimile of Purcell's Orpheus Britannicus and having the original delivered into my hands. Sean On Dec 18, 2013, at 11:18 AM, Roman Turovsky wrote: Is the UC Berkeley music library accessible to the general public? None of the university libraries in New York are. One has to be a student there with an ID card. RT On 12/18/2013 12:12 PM, Sean Smith wrote: Dear Dan, I happen to be holder of the now not-so-secret knowledge that you are in walking distance to the UC Berkeley music library. http://www.lib.berkeley.edu/hours/?day=2012-04-05&libraries[id][]=216&libraries[id][]=217 The music scores are in the basement and the Morales holdings are about 3 or 4 stacks east of the elevator shafts. When you find yourself in the M's, then look for "Mo..." When you see Mozart, you've gone too far. You'll find Josquin in the D's and the new edition of his has in-depth discussions of all his work and variants. yr neighbor in a less nearby secret location, Sean To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica 137
http://torban.org/sarmatoruthenicae/audio/440.mp3 http://torban.org/sarmatoruthenicae/images/440.pdf It comes with a rare opportunity to hear its vocal prototype: http://www.youtube.com/watch?v=Bv2dmNh-iJA Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: archlute/theorbo in Corelli's Op. 1
No one knows.
The only thing known is that the combination of consonants TRB
is absent in all European languages, except for the Slavic ones.
In Ukrainian TORBA means a sack, and TORBYNA means, well, a smaller sack.
RT
On 1/31/2014 4:45 PM, Arthur Ness wrote:
What is the etymology of the word "tiorba"?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf
Of Martyn Hodgson
Sent: Friday, January 31, 2014 12:03 AM
To: David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
As already pointed out on a number of occasions, the point about
tablature sources, rather than staff notation, is that they oblige a
particular tuning from the named instrument. Thus, for example, the
archlute tablature sources require top courses at the higher
octave (ie
non re-entrant) - and vice versa for the theorbo tablatures. Your
stated belief that the archlute and theorbo were simply different
names
for the same instrument('The terms "arciliuto" and "tiorba" are
high-degree interchangeable.') is not therefore supported by any
of the
tablature sources
MH
__
From: David Tayler
To: lute
Sent: Friday, 31 January 2014, 6:19
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
I don't see that staff notation is peculiar; it was a standard
form
of
notation. It is elegant and descriptive, and the choice of
brilliant
composers. There are even accounts in letters and diaries
saying that
it is better than tablature, presumably because it is more
efficient
in
showing the individual voices, or as part of the basso continuo
movement, or to parallel the viol, and so on. Many more reasons as
well, such as ornamentation.
Mersenne's quote: one can interpret all the square data that
does not
fit into the round hole as errors, but because of the
superfluity of
square data I think it makes more sense to consider the terms
"high-degree interchangeable".
Absence of viel ton: if music is written in mensural notation,
there
is
no way to know if it is viel ton or not in many cases, so the
"absence"
is evidence only that ppl stopped using tab for some of the newer
styles of music. Certainly the tuning had some serious
competition.
dt
__
From: jean-michel Catherinot <[1]jeanmichel.catheri...@yahoo.com>
To: R. Mattes <[2]r...@mh-freiburg.de>; lute
<[3]lute@cs.dartmouth.edu>; Martyn
Hodgson <[4]hodgsonmar...@yahoo.co.uk>
Sent: Wednesday, January 29, 2014 2:14 AM
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Yes: Zamboni in tablature., but indeed you know that!. I
consider
that
most of the arciliuto music is written in staff notation, may be
this
is a particularity of the instrument, and there is no doubt that
tuning
is not re-entrant (just have a look to Hasse's Cleofide, for
arciliuto
and compare with obligato parts for tiorba in Conti's Davide:
ambitus
and tessiture). . In staff notation, you mat consult, as I said,
obligato parts in Hasse's and Haendel's operas (and many
others
it
seems, I'm trying to list them), and the "concerti" from Harrach
collection. It is not impossible that Zamboni was the
composer of
the
solo sonata for arciliuto and the two aconcertinos' for
arciliuto
with
two violins and organ (all anonymous and in staff notation) from
the
Harrach library formerly owned by Robert Spencer and now at the
Royal
Academy of Music, London; another similar anonymous concerto for
arciliuto is among the newly-discovered items of chamber
music at
Rohrau.
Concerning Mersenne, it is quite clear in french that while
renaming
the picture untitled "tuorbe" in "archiluth", he corrects a
mistake
he
has previously done (and he says explicitly that): and he gives
quite
clearly the tuning for thA(c)orbe (re-entrant, in A) and the two
tunings for archiluth in G and A.
Concerning the use of archiluth in France (this is not our
subject,
but...): at first 2 points, I don't know any tablature
evidence of
the
use of vieil ton after ca1640. If this type of lute would be
used,
it's
very strange that there is no written music for it (not a note).
The
only strange book of Delair gives the impression that the
tuning
could
be not re-entrant: but it's a quite basic book, which only gives
solution for chords, not to play a B.C., and also dedicated
to the
harpsichord (did Delair even play the theorbo?). The others
[LUTE] Re: archlute/theorbo in Corelli's Op. 1
I'd accept a Trabant! RT On 2/1/2014 10:16 AM, R. Mattes wrote: On Fri, 31 Jan 2014 15:42:16 -0500, Roman Turovsky wrote No one knows. The only thing known is that the combination of consonants TRB is absent in all European languages, except for the Slavic ones. Where did you get this from? Just because I was drinking one while your mail came in: Teber (also: Träber, Trester) [1]. An acloholic beverage distilled from the leftover grapes after the juces have been pressed out (it's more famous under it's italian name: Grappa). Then I was thinking that you probably meant the combination of TRB - but even for that there is lat. turbare (I guess you won't accept my neighbours Audi-Turbo ... :-) Cheers, Ralf Mattes [1] http://de.wikipedia.org/wiki/Treber In Ukrainian TORBA means a sack, and TORBYNA means, well, a smaller sack. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: archlute/theorbo in Corelli's Op. 1
Turban (as in the ubiquitous headwear) is Persian, i.e. IndoEuropean word.
RT
On 1/31/2014 5:12 PM, dominic robillard wrote:
Turba in Bulgarian also means a bag.
On 31.01.2014, at 21:43, "Roman Turovsky" wrote:
No one knows.
The only thing known is that the combination of consonants TRB
is absent in all European languages, except for the Slavic ones.
In Ukrainian TORBA means a sack, and TORBYNA means, well, a smaller sack.
RT
On 1/31/2014 4:45 PM, Arthur Ness wrote:
What is the etymology of the word "tiorba"?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Martyn Hodgson
Sent: Friday, January 31, 2014 12:03 AM
To: David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
As already pointed out on a number of occasions, the point about
tablature sources, rather than staff notation, is that they oblige a
particular tuning from the named instrument. Thus, for example, the
archlute tablature sources require top courses at the higher octave (ie
non re-entrant) - and vice versa for the theorbo tablatures. Your
stated belief that the archlute and theorbo were simply different names
for the same instrument('The terms "arciliuto" and "tiorba" are
high-degree interchangeable.') is not therefore supported by any of the
tablature sources
MH
__
From: David Tayler
To: lute
Sent: Friday, 31 January 2014, 6:19
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
I don't see that staff notation is peculiar; it was a standard form
of
notation. It is elegant and descriptive, and the choice of brilliant
composers. There are even accounts in letters and diaries saying that
it is better than tablature, presumably because it is more efficient
in
showing the individual voices, or as part of the basso continuo
movement, or to parallel the viol, and so on. Many more reasons as
well, such as ornamentation.
Mersenne's quote: one can interpret all the square data that does not
fit into the round hole as errors, but because of the superfluity of
square data I think it makes more sense to consider the terms
"high-degree interchangeable".
Absence of viel ton: if music is written in mensural notation, there
is
no way to know if it is viel ton or not in many cases, so the
"absence"
is evidence only that ppl stopped using tab for some of the newer
styles of music. Certainly the tuning had some serious competition.
dt
__
From: jean-michel Catherinot <[1]jeanmichel.catheri...@yahoo.com>
To: R. Mattes <[2]r...@mh-freiburg.de>; lute
<[3]lute@cs.dartmouth.edu>; Martyn
Hodgson <[4]hodgsonmar...@yahoo.co.uk>
Sent: Wednesday, January 29, 2014 2:14 AM
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Yes: Zamboni in tablature., but indeed you know that!. I consider
that
most of the arciliuto music is written in staff notation, may be
this
is a particularity of the instrument, and there is no doubt that
tuning
is not re-entrant (just have a look to Hasse's Cleofide, for
arciliuto
and compare with obligato parts for tiorba in Conti's Davide:
ambitus
and tessiture). . In staff notation, you mat consult, as I said,
obligato parts in Hasse's and Haendel's operas (and many others
it
seems, I'm trying to list them), and the "concerti" from Harrach
collection. It is not impossible that Zamboni was the composer of
the
solo sonata for arciliuto and the two aconcertinos' for arciliuto
with
two violins and organ (all anonymous and in staff notation) from
the
Harrach library formerly owned by Robert Spencer and now at the
Royal
Academy of Music, London; another similar anonymous concerto for
arciliuto is among the newly-discovered items of chamber music at
Rohrau.
Concerning Mersenne, it is quite clear in french that while
renaming
the picture untitled "tuorbe" in "archiluth", he corrects a mistake
he
has previously done (and he says explicitly that): and he gives
quite
clearly the tuning for thA(c)orbe (re-entrant, in A) and the two
tunings for archiluth in G and A.
Concerning the use of archiluth in France (this is not our subject,
but...): at first 2 points, I don't know any tablature evidence of
the
use of vieil ton after ca1640. If this type of lute would be used,
it's
very st
[LUTE] Re: archlute/theorbo in Corelli's Op. 1
On 2/3/2014 12:29 PM, Geoff Gaherty wrote: As is "turbine." Geoff that is not related to turbans or theorbos, but rather to the latin TURBARE, to BOTHER. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica 97
http://youtu.be/UcTeHQu-Ml0 Self-performed, warts and all... Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 97
thank you, Stephen! I'm afraid that would be too solipsistic for such an aristophile as myself. RT On 2/11/2014 10:26 AM, stephen arndt wrote: Very nice. It leaves me wishing that you would record the complete works of Roman Turovsky. -Original Message- From: Roman Turovsky Sent: Tuesday, February 11, 2014 8:49 AM To: lute@cs.dartmouth.edu ; Le_luth Subject: [LUTE] Cantio Sarmatoruthenica 97 http://youtu.be/UcTeHQu-Ml0 Self-performed, warts and all... Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 97
as long as I get to serve these sentences non-concurrently! RT On 2/11/2014 10:48 AM, Mayes, Joseph wrote: I thought that he was a performer and artist and composer (and baroque composer in disguise) therefore was given more than one life. JM On 2/11/14 10:44 AM, "r.turov...@gmail.com" wrote: too big for his own shoes, I suppose RT On 2/11/2014 10:39 AM, Mayes, Joseph wrote: This may explain why, in the "new life members" list in the new LSAQ, Roman is listed twice. On 2/11/14 10:26 AM, "stephen arndt" wrote: Very nice. It leaves me wishing that you would record the complete works of Roman Turovsky. -----Original Message- From: Roman Turovsky Sent: Tuesday, February 11, 2014 8:49 AM To: lute@cs.dartmouth.edu ; Le_luth Subject: [LUTE] Cantio Sarmatoruthenica 97 http://youtu.be/UcTeHQu-Ml0 Self-performed, warts and all... Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 97
Here's another- CSR51 http://youtu.be/JfBIgAu5__A RT On 2/11/2014 10:26 AM, stephen arndt wrote: Very nice. It leaves me wishing that you would record the complete works of Roman Turovsky. -Original Message- From: Roman Turovsky Sent: Tuesday, February 11, 2014 8:49 AM To: lute@cs.dartmouth.edu ; Le_luth Subject: [LUTE] Cantio Sarmatoruthenica 97 http://youtu.be/UcTeHQu-Ml0 Self-performed, warts and all... Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 97
A borrowed 72cm Ivo Magherini 9c gallichon in lute tuning. My own (by Bram Peters) won't be ready for a few months. Shot from under Williamsburg bridge, looking south! On 2/11/2014 12:21 PM, Dan Winheld wrote: Beautiful! What instrument are you performing on? What warts? And are we on a slow boat to Harlem, up the East River? (Sorry- I'm just full of questions this morning.) Da On 2/11/2014 6:49 AM, Roman Turovsky wrote: http://youtu.be/UcTeHQu-Ml0 Self-performed, warts and all... Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 97
That's Tombeau sur la Mort de Froberger! RT On 2/11/2014 1:20 PM, Alain Veylit wrote: Hi Roman, I think you had sent me this mp3 of your own interpretation some years ago that I think is also quite beautiful: see http://lute.musickshandmade.com/projects/audio/tom-frob.mp3 Do you have more details/comments on that piece to provide? I could be wrong since it has been a few years, but the piece is worth a listen anyways :) Alain On 02/11/2014 09:26 AM, Roman Turovsky wrote: A borrowed 72cm Ivo Magherini 9c gallichon in lute tuning. My own (by Bram Peters) won't be ready for a few months. Shot from under Williamsburg bridge, looking south! On 2/11/2014 12:21 PM, Dan Winheld wrote: Beautiful! What instrument are you performing on? What warts? And are we on a slow boat to Harlem, up the East River? (Sorry- I'm just full of questions this morning.) Da On 2/11/2014 6:49 AM, Roman Turovsky wrote: http://youtu.be/UcTeHQu-Ml0 Self-performed, warts and all... Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 97
Thank you! The gallichon is attached (it won't make it to the list)! The view in CSR51 is out of my window. RT On 2/11/2014 12:45 PM, Dan Winheld wrote: > Roman- > > Thank you- I could tell it wasn't just a plain old lute, and that we > weren't heading out to Staten Island. (We did that two years ago, > another beautiful ride.) Do you have any pictures of the Gallichon? A > 9 course, 72 cm. thing definitely gets my heart racing. And where are > we headed in the second song? -Also beautifully done. Yes, you should > be serving another sentence as a performer. Concurrently, of course- > one complete, simultaneous package. > > Dan > > On 2/11/2014 9:26 AM, Roman Turovsky wrote: >> A borrowed 72cm Ivo Magherini 9c gallichon in lute tuning. My own (by >> Bram Peters) won't be ready for a few months. >> Shot from under Williamsburg bridge, looking south! >> >> >> On 2/11/2014 12:21 PM, Dan Winheld wrote: >>> Beautiful! What instrument are you performing on? What warts? And >>> are we on a slow boat to Harlem, up the East River? >>> (Sorry- I'm just full of questions this morning.) >>> >>> Da >>> >>> On 2/11/2014 6:49 AM, Roman Turovsky wrote: >>>> http://youtu.be/UcTeHQu-Ml0 >>>> Self-performed, warts and all... >>>> Enjoy! >>>> Amities, >>>> RT >>>> >>>> >>>> >>>> To get on or off this list see list information at >>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>>> >>> >>> >> >> > > > --
[LUTE] Cantio Sarmatoruthenica 138
http://torban.org/sarmatoruthenicae/audio/442.mp3 http://torban.org/sarmatoruthenicae/images/442.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica 138
with Stuart Walsh! http://youtu.be/V43uf0p50D0 RT On 2/18/2014 10:43 AM, Roman Turovsky wrote: http://torban.org/sarmatoruthenicae/audio/442.mp3 http://torban.org/sarmatoruthenicae/images/442.pdf Enjoy. Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] War, was Re:
Russia declares war on Ukraine. Il basso continua.. RT On 3/1/2014 10:00 AM, Ron Andrico wrote: We have posted our Saturday morning quotes, following up with observations on historical continuo practice. [1]http://wp.me/p15OyV-XN Ron & Donna -- References 1. http://wp.me/p15OyV-XN To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica 140
[1]http://torban.org/sarmatoruthenicae/audio/444.mp3 [2]http://torban.org/sarmatoruthenicae/images/444.pdf an Ukro-Canadian immigrant tune which completes the Sarmatoruthenian cycle... Enjoy! Amities, RT -- References 1. http://torban.org/sarmatoruthenicae/audio/444.mp3 2. http://www.facebook.com/l.php?u=http%3A%2F%2Ftorban.org%2Fsarmatoruthenicae%2Fimages%2F444.pdf&hJQHu1HMo&s=1 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Frottola, Tromboncino, Sorini
http://www.youtube.com/watch?v=WNmeGzjK6Ic A truly fine performance, without histrionics. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantiones Lodomericae
Dear friends, I have started a new cycle of Ukrainian polyphonic intabulations, CANTIONES LODOMERICAE - http://torban.org/lodomericae for your perusal and delectation. There are only 2 items there for now: http://torban.org/lodomericae/audio/445.mp3 http://torban.org/lodomericae/images/445.pdf and http://torban.org/lodomericae/audio/446.mp3 http://torban.org/lodomericae/images/446.pdf the latter one is divisions on a longtime favorite of mine, an Easter Psalm that you may see and hear performed by the Bozhychi vocal ensemble: http://youtu.be/m1I7dzszS1s Enjoy! Amities, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [Le_luth] Une Ariette d'Oucraine....
Also for archlute: [1]http://polyhymnion.org/swv/images/ojuvyshnevomuARCc.pdf RT On 4/30/2014 10:16 PM, Roman Turovsky wrote: A very famous Ukrainian folk romance from the Biedermeier era, arranged as an "Ariette avec troix doubles" pour luth baroque: [2]http://torban.org/sounds/ojuvyshnevomusadu.mp3 [3]http://torban.org/images/ojuvyshnevomusadu.pdf there is a truly cheesy (but equally enjoyable) pop performance of it at [4]http://youtu.be/ZI-cetBDtQ4 Enjoy! Amities. RT -- References 1. http://polyhymnion.org/swv/images/ojuvyshnevomuARCc.pdf 2. http://torban.org/sounds/ojuvyshnevomusadu.mp3 3. http://torban.org/images/ojuvyshnevomusadu.pdf 4. http://youtu.be/ZI-cetBDtQ4 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: [Le_luth] Une Ariette d'Oucraine....
Also in f: [1]http://polyhymnion.org/swv/images/ojuvyshnevomuARCf.pdf RT Also for archlute: [2]http://polyhymnion.org/swv/images/ojuvyshnevomuARCc.pdf RT A very famous Ukrainian folk romance from the Biedermeier era, arranged as an "Ariette avec troix doubles" pour luth baroque: [3]http://torban.org/sounds/ojuvyshnevomusadu.mp3 [4]http://torban.org/images/ojuvyshnevomusadu.pdf there is a truly cheesy (but equally enjoyable) pop performance of it at [5]http://youtu.be/ZI-cetBDtQ4 Enjoy! Amities. RT -- References 1. http://polyhymnion.org/swv/images/ojuvyshnevomuARCf.pdf 2. http://polyhymnion.org/swv/images/ojuvyshnevomuARCc.pdf 3. http://torban.org/sounds/ojuvyshnevomusadu.mp3 4. http://torban.org/images/ojuvyshnevomusadu.pdf 5. http://youtu.be/ZI-cetBDtQ4 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: a modern lute duet by Gilbert Isbin
Yes, there is a mutlitude of factors that differentiate the lute idiom from the guitar one. The main element is overtone palette that permits the lute to accomplish more with less: fewer notes produce more content. Low string tension and light construction preclude all guitar effects. Double strings determine differences of getting from one note to the next, as well physical microeffort required for that, and that in turn determine the much different "negative space" of the lute music. You pluck the lute pretty much one single way, unlike guitar. And the baroque tuning yields considerable differences of harmonic and melodic behavior. RT - Original Message - From: "Stephen Kenyon" Cc: "Lute Net" Sent: Tuesday, March 29, 2011 7:07 AM Subject: [LUTE] Re: a modern lute duet by Gilbert Isbin This reminds me of a question raised when I wrote a piece supposedly for lute (6 course) ages ago. I showed it to a lutenist who said it was really guitar music. Well, I'd written it using a guitar (tuned appropriately of course) having no lute to use. But it seems to me that its more a question of the musical style, my piece being a sort of quasi-classical sonata type of thing. So what would the general understanding be, how non-traditional musical style/content affects whether a piece would be considered lute-like? Are there really, subtle aspects of how the instrument works, differently from guitar that would trump these...in which case how would a non-lutenist ever write for lute? (Aside - I've just had a major piece written for guitar by a non-player, some of which is a little challenging and pushes the boundaries...which is rather the point to a degree?) Stephen Stuart Walsh wrote: Gilbert Isbin has written some lute duets, "3 contemporary lute duets" published by the Lute Society, 2009. Here is a go at one of them: 'And Autumn Came'. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: a modern lute duet by Gilbert Isbin
Ivano Zanenghi has recently recorded a CD of jazz standards on archlute. And Edin has recorded 'Round Midnight on baroque lute earlier. RT - Original Message - From: "Christopher Wilke" To: ; "Daniel Winheld" Sent: Tuesday, March 29, 2011 11:08 PM Subject: [LUTE] Re: a modern lute duet by Gilbert Isbin Dan, Lately for my own amusement and to force myself to really get to know the fingerboard, I've been making arrangements of jazz standards for baroque lute. I've been pleasantly surprised to find that most jazz harmonies fit very, very well on the fingerboard in d-minor tuning. No doubt this is because even the thorniest jazz chord is built on stacked thirds and d-minor tuning has thirds a-plenty. There is usually more than enough room to do a nice harmonic voicing plus melody, whereas on guitar one often has to compromise quite a bit. (Which compromises are made is part of the appeal of listening to a true jazz guitar master.) I've found that Jobim works particularly well on b-lute. Now, those diatonic basses are another matter... This is obviously a use for the instrument which was never foreseen by the olden ones. (If anyone has Weiss's arrangement of "How Insensitive," please let me know.) Sometimes they involve patterns to which my poor fingers are totally unaccustomed, but if it works, can we say it is unidiomatic or non-lute-like? Chris P.S. Should I have posted this to the baroque lute brazilian jazz list? Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com --- On Tue, 3/29/11, Daniel Winheld wrote: From: Daniel Winheld Subject: [LUTE] Re: a modern lute duet by Gilbert Isbin To: lute@cs.dartmouth.edu Date: Tuesday, March 29, 2011, 12:11 PM Excellent discussion- as to modern classical guitar "vs" renaissance lute; some exchanges work, some don't. I've been testing these waters very intensely since getting a new 8 course from Dan Larson. Unbelievably resonant instrument, depth of response beyond anything I've ever owned or played previously. The Villa-Lobos Etude #1 is a great arpeggio study for thumb-index alternation, either thumb out or in; but I would never play it on the lute in concert. A surprising number of Villa-Lobos' other guitar works do sound good on this particular lute (differences in individual instruments can affect what works/doesn't work almost as much as different species of instrument) -and of course, as Martin notes, you run right off the rails technically with many pieces. But it's good training to dance one's way right up to the sound hole playing the works that test & extend the lute's limits, but don't quite exceed it. All technical stumbling blocks resolved, it seems to still be a "cultural" thing; the European lute family is and no doubt will always be- for the most part- a back-from-the-dead, loving retrieval of our nearly lost instrumental musical heritage, redolent of particular times and places, not mention musical-social associations. In our minds, at least. One violates- or just pushes- these important values/associations very carefully. Again, for my own amusement, I have found that five of the dozen or so guitar arrangements of Astor Piazzolla sound brilliant on the lute; actually even better in some ways. (Lute sound- even with all gut stringing- cuts like an arrow vs. guitar sound- smashes through like a bullet. Perfect for Tango) -but I may never perform them in concert. A relevant and important point; none of these works by Piazzolla were actually written for guitar- they have been played on everything from solo bandoneon, guitar, or piano, to quintets and full orchestrations. Music of a certain universal plasticity (like so much of Bach's suites & partitas) is fair game for many different modes of presentation. But what "should" be the lute's cultural range- technical/sonic range being easily quantifiable- is a delicate, thorny aspect of this discussion. Dan >Hi All, > >A few thoughts off the top of my head (not as far up as it was): > >I would say to a composer - listen carefully to the sound of a >proper lute strung with gut strings. You will hear the difference >between that and the modern guitar. > >Also, bear in mind that although pushing boundaries can be >interesting, the lute is historically quite limited in range - in >terms of the fingerboard, there are only eight tied frets, after >that you're up in the gods. Unless you're writing for baroque lute >of course, in which case you've got a couple of extra frets. > >Think about octaves. They were usually ignored by the intabulators >of old, but they were there - so when composing, you really have to >think about what kind of octave doubling (however subtle) is >acceptable. > >Temperament is another issue. The old guys mave have used some >approximation to equal temperament, but that doesn't necessarily >equate to total freedom in terms of modulation, or the way the open >strings of the instrument resonate. Some notes
[LUTE] Re: a modern lute duet by Gilbert Isbin
Very interesting final comment. I sometimes have the impression that the seventeenth century is happening all over again, with more and more people taking up baroque lute, baroque guitar, theorbo etc and leaving the renaissance lute behind. Is it simply too hard? P That's my rationalization. Always found the reanaissance lute to be a lot more work. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica XV -
http://www.torban.org/sarmatoruthenicae/audio/318C.mp3 http://www.torban.org/sarmatoruthenicae/images/318.pdf Enjoy. Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Continuo and the Foscarini Experience
If you ever see, say, Guido Morini doing live continuo you'd realize that
there are no generally acceptable limits for
keyboard continuo practice.
RT
- Original Message -
From: "Martyn Hodgson"
To: "Christopher Wilke"
Cc: "Lutelist"
Sent: Friday, April 01, 2011 9:55 AM
Subject: [LUTE] Continuo and the Foscarini Experience
Interesting thoughts Chris - but I don't think people would say 'great
continuo playing' if one busked in the style of, say, Scott Joplin in,
say, a Bach Mass setting. In fact, the evidence is not as scant as you
suggest and in practice there are generally acceptable limits for
keyboard continuo practice (often based on what we know of historical
practice). As far as I understand from the discussion, the problem is
that the 'Foscarini Experience' performance is so far away from what
any audience might have heard ('experienced') at the time as to be a
parody, or rather a travesty, of what the composer may have had in
mind.
Of course all is not perfect even in the keyboard continuo world and
some harpsichord players seem to find it hard to resist things like
heavy regular arpeggiation in, say, a Vivaldi slow movement - a sort of
grafted on harpsichord concerto but it's still much better than with
the lute/theorbo where electronic amplification of the individual
instrument can often be the norm thus allowing a sort of fancy lute
song style accompaniment which in practice would be inaudible without
the amplification.
This sort of 'experience' by FE is surely an admission of artistic
defeat rather than a triumph of individualism - by pandering to current
popular music fashions (much simple rhythmic movement and a lot of
thrashing about) it seems as though the ensemble is trying to generate
sales by satisfying the lowest common denominator - nothing
intrinsically wrong with this of course, but hackles must rise when
it's promoted as being close to what was heard at the time
MH
--- On Fri, 1/4/11, Christopher Wilke wrote:
From: Christopher Wilke
Subject: [LUTE] Re: Foscarini Experience again
To: "Stuart Walsh" , "Monica Hall"
Cc: "Lutelist"
Date: Friday, 1 April, 2011, 13:58
--- On Fri, 4/1/11, Monica Hall <[1]mjlh...@tiscali.co.uk> wrote:
>
> I don't think really these people really make any attempt
> to play the music in a "historically informed way"..or have
> any relevant knowledge at all.
>
> Everyone is just fooled by their virtuosity.
>
> Cynically
>
> Monica
>
I think we have to make a distinction between the scholarly side of
things and the artistic aspect. "Historically informed" is not a very
helpful critical term. Deciding who is "historically informed-er"
tells us little about the artistic worth of the performance. I don't
think it is necessarily invalid for a performer, in light of scant
historical evidence, to bring in aspects of performance done is accord
with modern principles (i.e. improvisation) as a substitute for
essential subjects treated only ambiguously in the texts. After all,
if you're one of the well-respected harpsichord players in any number
of baroque ensembles, they call this sort of thing "great continuo
playing."
Chris
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
>
> - Original Message - From: "Stuart Walsh"
<[2]s.wa...@ntlworld.com>
> Cc: "Lutelist" <[3]lute@cs.dartmouth.edu>
> Sent: Friday, April 01, 2011 9:06 AM
> Subject: [LUTE] Re: Foscarini Experience again
>
>
> > On 31/03/2011 22:08, Stuart Walsh wrote:
> >> On 31/03/2011 19:53, Monica Hall wrote:
> >>> I came across this
> CD by the group Foscarini Experience with the title
> >>> "Bon voyage" some time
> ago.
> >>
> >>
> >> I looked around to see if I could hear some of the
> tracks as samples. Couldn't find anything but I did find an
> album by 'Private Musicke' (who played at Edinburgh last
> year with an opera singer) and there are some samples from
> this album, Echo de Paris:
> >>
> >> [4]http://www.prestoclassical.co.uk/r/Accent/ACC24173#listen
> >>
> >> It's interesting that the one solo of Corbetta's
> and the several of Bartolotti are played actually as solos -
> very fluently (but perhaps, at the gushing rather than the
> pinched, end of the spectrum) whereas Foscarini (and
> Briceno) get a complete makeover. Actually playing through
> Foscarini you struggle to find anything musically coherent
> at all - but on this album, his (ahem) music bursts
> forth as colourful, radiant and beguilingly tuneful.
> >
> > (i.e. this is all rather curious...where did all these
> arrangements come from - and arrangements of what in the
> first place?)
> >>
> >>
> >> Stuart
> >>
> >>
> >>
> >>> In the liner notes it
> mentions an
> >>> illustration which
> features Foscarini on a wagon playing
[LUTE] Re: Continuo and the Foscarini Experience
There seems to be no "generally acceptable limits for keyboard continuo
practice" included in the curriculum of the Bologna conservatory, as
evidenced by its graduates.
RT
- Original Message -
From: "Martyn Hodgson"
To: "Christopher Wilke" ; "Roman Turovsky"
Cc: "Lutelist"
Sent: Friday, April 01, 2011 10:22 AM
Subject: Re: [LUTE] Continuo and the Foscarini Experience
Well by generally accepted I mean by the generality (ie for the most part)
of keyboard players not necessarily all of them - and to be fair I did put
in the rider that all was not perfect even in the harpsichord continuo
world...
MH
--- On Fri, 1/4/11, Roman Turovsky wrote:
From: Roman Turovsky
Subject: Re: [LUTE] Continuo and the Foscarini Experience
To: "Martyn Hodgson" , "Christopher Wilke"
Cc: "Lutelist"
Date: Friday, 1 April, 2011, 15:02
If you ever see, say, Guido Morini doing live continuo you'd realize that
there are no generally acceptable limits for
keyboard continuo practice.
RT
- Original Message -
From: "Martyn Hodgson"
To: "Christopher Wilke"
Cc: "Lutelist"
Sent: Friday, April 01, 2011 9:55 AM
Subject: [LUTE] Continuo and the Foscarini Experience
Interesting thoughts Chris - but I don't think people would say 'great
continuo playing' if one busked in the style of, say, Scott Joplin in,
say, a Bach Mass setting. In fact, the evidence is not as scant as you
suggest and in practice there are generally acceptable limits for
keyboard continuo practice (often based on what we know of historical
practice). As far as I understand from the discussion, the problem is
that the 'Foscarini Experience' performance is so far away from what
any audience might have heard ('experienced') at the time as to be a
parody, or rather a travesty, of what the composer may have had in
mind.
Of course all is not perfect even in the keyboard continuo world and
some harpsichord players seem to find it hard to resist things like
heavy regular arpeggiation in, say, a Vivaldi slow movement - a sort of
grafted on harpsichord concerto but it's still much better than with
the lute/theorbo where electronic amplification of the individual
instrument can often be the norm thus allowing a sort of fancy lute
song style accompaniment which in practice would be inaudible without
the amplification.
This sort of 'experience' by FE is surely an admission of artistic
defeat rather than a triumph of individualism - by pandering to current
popular music fashions (much simple rhythmic movement and a lot of
thrashing about) it seems as though the ensemble is trying to generate
sales by satisfying the lowest common denominator - nothing
intrinsically wrong with this of course, but hackles must rise when
it's promoted as being close to what was heard at the time
MH
--- On Fri, 1/4/11, Christopher Wilke wrote:
From: Christopher Wilke
Subject: [LUTE] Re: Foscarini Experience again
To: "Stuart Walsh" , "Monica Hall"
Cc: "Lutelist"
Date: Friday, 1 April, 2011, 13:58
--- On Fri, 4/1/11, Monica Hall <[1]mjlh...@tiscali.co.uk> wrote:
>
> I don't think really these people really make any attempt
> to play the music in a "historically informed way"..or have
> any relevant knowledge at all.
>
> Everyone is just fooled by their virtuosity.
>
> Cynically
>
> Monica
>
I think we have to make a distinction between the scholarly side of
things and the artistic aspect. "Historically informed" is not a very
helpful critical term. Deciding who is "historically informed-er"
tells us little about the artistic worth of the performance. I don't
think it is necessarily invalid for a performer, in light of scant
historical evidence, to bring in aspects of performance done is accord
with modern principles (i.e. improvisation) as a substitute for
essential subjects treated only ambiguously in the texts. After all,
if you're one of the well-respected harpsichord players in any number
of baroque ensembles, they call this sort of thing "great continuo
playing."
Chris
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
>
> - Original Message - From: "Stuart Walsh"
<[2]s.wa...@ntlworld.com>
> Cc: "Lutelist" <[3]lute@cs.dartmouth.edu>
> Sent: Friday, April 01, 2011 9:06 AM
> Subject: [LUTE] Re: Foscarini Experience again
>
>
> > On 31/03/2011 22:08, Stuart Walsh wrote:
> >> On 31/03/2011 19:53, Monica Hall wrote:
> >>> I came across this
> CD by the group Foscarini Experience with the title
> >>> "Bon voyage" some time
> ago.
> >>
> >>
> >> I looked around to see if I could hear so
[LUTE] Chaconne by Ivano Zanenghi (archlute)
http://www.youtube.com/watch?v=EJ6TGURcKL0 RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica XVII -
has just been filmed by Eugene Kurenko - http://www.youtube.com/watch?v=Ttef1aZaI48 Enjoy. Amitiës, RT http://www.torban.org/sarmatoruthenicae/audio/320.mp3 http://www.torban.org/sarmatoruthenicae/images/320.pdf Divertitevi, RT http://www.torban.org/mikrokosmos.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Hopkinson Smith Concert
out of curiosity: how many times did Hoppy use the expression "That was almost good!" during the master class? RT - Original Message - From: "Edward Martin" To: "Eugene C. Braig IV" ; Sent: Wednesday, April 06, 2011 1:15 PM Subject: [LUTE] Re: Hopkinson Smith Concert Yes, he is an absolute master, and I am in awe of him as well. He has the way of getting to the point, in a most insightful manner. ed At 11:52 AM 4/6/2011, Eugene C. Braig IV wrote: I do not know of Mrs. Smith's musical activities. However, I can tell you about a similar event I coordinated in Columbus, OH this past weekend. I was very pleased with the turnout for Hoppy's concert and all the support from Early Music, WOSU, the Columbus Dispatch, etc. We had attendees from as far away as Peabody in MD and Sarnia, Ontario. Concert was Friday evening. For a pre-concert talk (expected on the Early Music series with whom we collaborated), Hoppy took Sanz's one-line tarantella and discussed in lay terms (and demonstrating on his guitar) how he elaborated the rasgueado patterns and concocted melodic figures over the notated progression to arrive at a performance piece worth hearing. I may be biased, but his was one of the most entertaining talks I've ever heard on that series. The concert itself was good: guitar music by Sanz, Guerau, and Santa Cruz. The master class he gave on Saturday afternoon was the highlight of the weekend for me. It was both insightful and a near-overwhelming display of the man's genius. We also had four performers; they played Bach on modern guitar, de Murcia and Bartolotti on 5-course guitars, and Piccinini on liuto attiorbato. There was also a piano handy in the chapel where the master class was held. To demonstrate phrasing and musical ideas, he would hop between his own (5-course guitar) and participants' instruments and piano, transposing by ear at the piano to accommodate different concert pitches and play in tune with whatever participant's instrument was on deck, realizing complex harmony on the fly. Remarkable! ...And he conveys all with an air of sincere generosity and without me perceiving any arrogance. I'm still reeling. Eugene > -Original Message- > From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On > Behalf Of Edward Mast > Sent: Wednesday, April 06, 2011 11:42 AM > To: lute@cs.dartmouth.edu Net > Subject: [LUTE] Hopkinson Smith Concert > > I had the pleasure of hearing HS give a recital last night of Spanish > music of the 17th century (on Baroque guitar). I've heard him twice > before in recitals of Renaissance lute music, but even though the lute > is > the instrument I'm trying to learn to play, this guitar recital > captivated > me in a way that the lute recitals didn't. Not sure why. But I came > away > with a bit of envy for you baroque guitarists who have this wonderful > repertory to draw on (eg. Sanz, Guerau, Santa Cruz). > > The evening before, I attended a master class given by HS. Four > guitarists (modern) played; three played transcriptions of Bach, while > the > fourth played a Kellner transcription. HS showed profound insights > into > the music and worked with the players in a congenial, but musically > exacting way. > > A 'mini review', for what it's worth. I think Hopkinson Smith is one > of > the more remarkable musicians in early music; a wonderful player, and a > fine pedagogue. Does anyone know if his wife is also active in the > early > music field? (A recorder friend of mine thinks she may have been a > teacher > at a recent workshop on early notation which she attended). > > -Ned > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: e...@gamutstrings.com voice: (218) 728-1202 http://www.facebook.com/profile.php?id=1660298871&ref=name http://www.myspace.com/edslute http://magnatune.com/artists/edward_martin
[LUTE] Cantio Sarmatoruthenica XVIII -
http://www.torban.org/sarmatoruthenicae/audio/321.mp3 http://www.torban.org/sarmatoruthenicae/images/321.pdf in major! Enjoy. Amitiés, RT From: "Roman Turovsky" has just been filmed by Eugene Kurenko - http://www.youtube.com/watch?v=Ttef1aZaI48 Enjoy. Amitiës, RT http://www.torban.org/sarmatoruthenicae/audio/320.mp3 http://www.torban.org/sarmatoruthenicae/images/320.pdf Divertitevi, RT http://www.torban.org/mikrokosmos.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica XVIII
Simply grand, Stuart! This is beyond amazing, Eugene filmed it too, practically simultaneously! http://www.youtube.com/watch?v=g90OJIEBjA0 RT From: "Stuart Walsh" http://www.torban.org/sarmatoruthenicae/audio/321.mp3 http://www.torban.org/sarmatoruthenicae/images/321.pdf in major! As it 's in C major I've had a go at this setting on the English guitar. I'm playing an original instrument with tuning pegs rather than the more efficient watchkey mechanism. Or, that's my excuse for any tuning issues. http://www.youtube.com/watch?v=Yt9fk6fiSKg Stuart 1. mailto:r.turov...@verizon.net 2. http://www.torban.org/sarmatoruthenicae/audio/321.mp3 3. http://www.torban.org/sarmatoruthenicae/images/321.pdf 4. http://www.youtube.com/watch?v=Yt9fk6fiSKg To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
lute@cs.dartmouth.edu
Here's Merula's Cappriccio Cromatico played on a mean-tone organ: http://www.youtube.com/watch?v=D5_bSrkEFXs It was so insufferable I had to turn it off halfway through. "Enjoy", ye MT mavens. RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Susanne ung jour
There was a whole LSAQuartely devoted to that tune at one point. RT - Original Message - From: "Hilbert Jörg" To: "lute List" Sent: Sunday, April 10, 2011 1:36 PM Subject: [LUTE] Susanne ung jour Dear friends, I am currently working on a very nice flute variation on "Susanne ung jour" by Bassano, which is obviously based on a song of Orlando di Lasso. I am very interested in this song and in additional lute material, but I can’t find too much about it in the internet. Does anybody know, if there is some free material out there, which I may not have found yet? Thanks, Jörg -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantiones Sarmatoruthenicae
http://www.torban.org/sarmatoruthenicae/audio/324.mp3 http://www.torban.org/sarmatoruthenicae/images/324.pdf http://www.torban.org/sarmatoruthenicae/audio/323.mp3 http://www.torban.org/sarmatoruthenicae/images/323.pdf & http://www.torban.org/sarmatoruthenicae/audio/322.mp3 http://www.torban.org/sarmatoruthenicae/images/322.pdf http://www.torban.org/sarmatoruthenicae/audio/321.mp3 http://www.torban.org/sarmatoruthenicae/images/321.pdf Enjoy. Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantio Sarmatoruthenica XXII
http://www.torban.org/sarmatoruthenicae/audio/325.mp3 http://www.torban.org/sarmatoruthenicae/images/325.pdf RT - Original Message - From: "Roman Turovsky" To: "Lutelist" Cc: Sent: Thursday, April 21, 2011 9:35 AM Subject: Cantiones Sarmatoruthenicae http://www.torban.org/sarmatoruthenicae/audio/324.mp3 http://www.torban.org/sarmatoruthenicae/images/324.pdf http://www.torban.org/sarmatoruthenicae/audio/323.mp3 http://www.torban.org/sarmatoruthenicae/images/323.pdf & http://www.torban.org/sarmatoruthenicae/audio/322.mp3 http://www.torban.org/sarmatoruthenicae/images/322.pdf http://www.torban.org/sarmatoruthenicae/audio/321.mp3 http://www.torban.org/sarmatoruthenicae/images/321.pdf Enjoy. Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: New blog post
Ron, the questions are totally valid, and 98% of modern music is in fact ugly. This certainly does NOT apply to Gilbert, as his music is neither ugly nor modern (it is jazz-influenced, and as such has a certainn historicist air to it, and it is certainly not modernist). Jazz-influenced sonorities work well on lutes, as evinenced by Edin's renditions of Monk for example, or Ivano Zanenghi's own compositions. As to purely mordernist sound - it is utterly inappropriate for all lutes in general, and the baroque lute in particular, as the acoustical properties of the instrument tolerate absolutely no gratuitous dissonance and/or non-traditional methods of producing sound (I had many discussions apropos with Hans Kockelmans, who has a lot of experience both as a lutenist and an avant-garde composer). Modernism on lutes sounds half-ass at best, and daft at worst. Only one modernist idiom has some real potential on lutes, and that is Minimalism, due to its adherence to consonance and rhythmic interest. RT - Original Message - From: "Ron Andrico" To: ; Cc: Sent: Thursday, May 05, 2011 10:05 AM Subject: [LUTE] Re: New blog post Gilbert, Arto: I don't recall having described modern music as 'ugly' nor having railed against inventiveness. My point is just to ask the questions. But I will add that the 16th century lute was designed for and excels at transparent polyphony and, while modern chordal sounds can work, I haven't see much polyphonic writing of new music for the lute. Best wishes, Ron Andrico > Date: Thu, 5 May 2011 16:26:41 +0300 > To: gilbert.is...@telenet.be > CC: praelu...@hotmail.com; lute@cs.dartmouth.edu > From: wi...@cs.helsinki.fi > Subject: [LUTE] Re: New blog post > > > Yes Gilbert! > > And they were really very inventive already in 17th cetury; just take a > look to La Comete by Gallot: > > http://www.cs.helsinki.fi/u/wikla/mus/11_courseLute/GallotsCometeM.pdf > > Arto > > On Thu, 5 May 2011 15:21:04 +0200, "Gilbert Isbin" > wrote: > > Why should a modern voicing sound ugly on a lute. Play Dm11 for instance. > > > Not bad. Gm13/D . What's wrong with it ? Sounds very beautiful to me. > > > > Why shouldn't it be possible to integrate lute techniques in modern lute > > compositions? Try C9sus4 followed by a bass line, or a single note run on > > > the top voice, or in the middle voice. Sounds pretty ok to me. > > > > I think people from the 16th century would have a good laugh about this > > discussion. It was a time in which so many creative things happened. New > > compositional techniques, new lute techniques, new instruments, .. > > > > Gilbert. > > > > > > > > http://users.telenet.be/gilbert.isbin/contents.html > > > > - Original Message - > > From: "Ron Andrico" > > To: > > Sent: Thursday, May 05, 2011 2:06 PM > > Subject: [LUTE] New blog post > > > > > >> To All: > >> We have a new blog post raising a few questions about modern music on > >> the lute - not against the idea, by the way. > >> [1]http://mignarda.wordpress.com > >> Ron & Donna > >> -- > >> > >> References > >> > >> 1. http://mignarda.wordpress.com/ > >> > >> > >> To get on or off this list see list information at > >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >> > >> > >> - > >> Geen virus gevonden in dit bericht. > >> Gecontroleerd door AVG - www.avg.com > >> Versie: 10.0.1209 / Virusdatabase: 1500/3616 - datum van uitgifte: > >> 05/04/11 > >> > > --
[LUTE] Re: New blog post
From: "Gary Digman" "...gratuitous dissonance..."? Gary Something along the lines of http://www.youtube.com/watch?v=RhXNIrQJR80 RT - Original Message - From: "Roman Turovsky" To: "Ron Andrico" ; ; Cc: Sent: Thursday, May 05, 2011 7:28 AM Subject: [LUTE] Re: New blog post Ron, the questions are totally valid, and 98% of modern music is in fact ugly. This certainly does NOT apply to Gilbert, as his music is neither ugly nor modern (it is jazz-influenced, and as such has a certainn historicist air to it, and it is certainly not modernist). Jazz-influenced sonorities work well on lutes, as evinenced by Edin's renditions of Monk for example, or Ivano Zanenghi's own compositions. As to purely mordernist sound - it is utterly inappropriate for all lutes in general, and the baroque lute in particular, as the acoustical properties of the instrument tolerate absolutely no gratuitous dissonance and/or non-traditional methods of producing sound (I had many discussions apropos with Hans Kockelmans, who has a lot of experience both as a lutenist and an avant-garde composer). Modernism on lutes sounds half-ass at best, and daft at worst. Only one modernist idiom has some real potential on lutes, and that is Minimalism, due to its adherence to consonance and rhythmic interest. RT - Original Message - From: "Ron Andrico" To: ; Cc: Sent: Thursday, May 05, 2011 10:05 AM Subject: [LUTE] Re: New blog post Gilbert, Arto: I don't recall having described modern music as 'ugly' nor having railed against inventiveness. My point is just to ask the questions. But I will add that the 16th century lute was designed for and excels at transparent polyphony and, while modern chordal sounds can work, I haven't see much polyphonic writing of new music for the lute. Best wishes, Ron Andrico > Date: Thu, 5 May 2011 16:26:41 +0300 > To: gilbert.is...@telenet.be > CC: praelu...@hotmail.com; lute@cs.dartmouth.edu > From: wi...@cs.helsinki.fi > Subject: [LUTE] Re: New blog post > > > Yes Gilbert! > > And they were really very inventive already in 17th cetury; just take a > look to La Comete by Gallot: > > http://www.cs.helsinki.fi/u/wikla/mus/11_courseLute/GallotsCometeM.pdf > > Arto > > On Thu, 5 May 2011 15:21:04 +0200, "Gilbert Isbin" > wrote: > > Why should a modern voicing sound ugly on a lute. Play Dm11 for instance. > > > Not bad. Gm13/D . What's wrong with it ? Sounds very beautiful to me. > > > > Why shouldn't it be possible to integrate lute techniques in modern lute > > compositions? Try C9sus4 followed by a bass line, or a single note run on > > > the top voice, or in the middle voice. Sounds pretty ok to me. > > > > I think people from the 16th century would have a good laugh about this > > discussion. It was a time in which so many creative things happened. New > > compositional techniques, new lute techniques, new instruments, .. > > > > Gilbert. > > > > > > > > http://users.telenet.be/gilbert.isbin/contents.html > > > > - Original Message - > > From: "Ron Andrico" > > To: > > Sent: Thursday, May 05, 2011 2:06 PM > > Subject: [LUTE] New blog post > > > > > >> To All: > >> We have a new blog post raising a few questions about modern music on > >> the lute - not against the idea, by the way. > >> [1]http://mignarda.wordpress.com > >> Ron & Donna > >> -- > >> > >> References > >> > >> 1. http://mignarda.wordpress.com/ > >> > >> > >> To get on or off this list see list information at > >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >> > >> > >> - > >> Geen virus gevonden in dit bericht. > >> Gecontroleerd door AVG - www.avg.com > >> Versie: 10.0.1209 / Virusdatabase: 1500/3616 - datum van uitgifte: > >> 05/04/11 > >> > > -- No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.894 / Virus Database: 271.1.1/3616 - Release Date: 05/04/11 11:34:00
[LUTE] Re: New blog post
From: "Christopher Wilke" Gary, --- On Fri, 5/6/11, Gary Digman wrote: "...gratuitous dissonance..."? Gary To give an example of gratuitous dissonance on baroque lute: if you play the open first course and the second fret at the same time, you have a jarring minor second dissonance. This type of thing is never found in baroque lute music, especially not at cadences. It is never > found in pieces by the French lute composers. Nor the gallant lutenists. And especially not in the works of Weiss. Never. ;-) (It happens all the time, both resolved and un-resolved.) 9/10 chords are my particular faves, but they are not gratuitous! What I think Roman really is talking about is unresolved strong dissonance (such as frequent > minor seconds and tritones) as a normal language, often for the sake of obfuscating otherwise fairly simple harmonic procedures or to avoid a sense of tonal center. Or RHYTHM, which is worse. In this view, harmonic tension, unlike its use in previous eras, is not employed for dramatic or narrative effect, but rather as a continuously operative state with little functionality. Some would argue that it creates a constant sense of dread and foreboding that never "goes" anywhere. I don't mind the latter, but it can be achieved with conventional means as well, if not better. For what it's worth, I don't agree with Roman. I think this language can be as effective as any other and there is no particular reason why it shouldn't be employed on lute if that's the composer's fancy and he or she can use it effectively. The proof of that would be found in actual music, but we have no effective lute music of that particular kind to date, for a good reason, I suspect . Of course, just as in "normal" tonality, there has been a lot of bad music written using "gratuitous dissonance." The "normal" idiom and our reactions to it have a considerable genetic element in them, and so it is a lot more difficult in it to conseal quality lapses. In the other idiom the quality is determined by degrees and shades of insufferability. In modern circles, however, it has unfortunately become de rigueur to write this way if you want to be taken seriously as a composer who is "relevant." (i.e. getting performances and being awarded grants, scholarships, faculty positions, etc.) Chris And that is depressing, idnit? RT Christopher Wilke Lutenist, Guitarist and Composer www.christopherwilke.com - Original Message - From: "Roman Turovsky" To: "Ron Andrico" ; ; Cc: Sent: Thursday, May 05, 2011 7:28 AM Subject: [LUTE] Re: New blog post > Ron, > the questions are totally valid, and 98% of modern music is in fact ugly. > This certainly does NOT apply to Gilbert, as his music is neither ugly nor > modern (it is jazz-influenced, and as such has a certainn historicist air to > it, and it is certainly not modernist). Jazz-influenced sonorities work well > on lutes, as evinenced by Edin's renditions of Monk for example, or Ivano > Zanenghi's own compositions. > As to purely mordernist sound - it is utterly inappropriate for all lutes in > general, and the baroque lute in particular, as the acoustical properties > of the instrument tolerate absolutely no gratuitous dissonance and/or > non-traditional methods of producing sound (I had many discussions apropos > with Hans Kockelmans, who has a lot of experience both as a lutenist and an > avant-garde composer). Modernism on lutes sounds half-ass at best, and daft > at worst. > Only one modernist idiom has some real potential on lutes, and that is > Minimalism, due to its adherence to consonance and rhythmic interest. > RT > > - Original Message - From: "Ron Andrico" > To: ; > Cc: > Sent: Thursday, May 05, 2011 10:05 AM > Subject: [LUTE] Re: New blog post > > >> Gilbert, Arto: >> I don't recall having described modern music as 'ugly' nor having >> railed against inventiveness. My point is just to ask the questions. >> But I will add that the 16th century lute was designed for and excels >> at transparent polyphony and, while modern chordal sounds can work, I >> haven't see much polyphonic writing of new music for the lute. >> Best wishes, >> Ron Andrico >> > Date: Thu, 5 May 2011 16:26:41 +0300 >> > To: gilbert.is...@telenet.be >> > CC: praelu...@hotmail.com; lute@cs.dartmouth.edu >> > From: wi...@cs.helsinki.fi >> > Subject: [LUTE] Re: New blog post >> > >> > >> > Yes Gilbert! >> > >> > And they were really very inventive already in 17th cetury; just take >> a >> > look to La Comete by Gallot: >> > >> > &
[LUTE] Re: New blog post
Roman; I don't know what exactly you mean by "gratuitous". I assume you did not like the composition and thus meant it to be pejorative. Ugly for the sake of ugliness, and yes: in fact. An Italian composer-friend who sent me the link was a lot less diplomatic than me on the subject. Many of the dissonances seemed deliberate and thought out to me. Exactly. Hence the Sciarrino&Co problem: too much deliberation is detrimental to inspiration. There were also many consonances. I don't know if I would refer to them as "gratuitous consonances". I won't say I liked the compostion, but I did find it interesting. Personally I'm open to and welcome experimentation. I like experimentation, but the forward experimentation has fizzled out (remember the piece for 3 styrofoam pieces I postedsome time ago?), and it has alrady changed its direction - backward. Even a British colleague of ours who once wrote insufferable orthodox modernist music for lute has changed his mind. RT - Original Message - From: "Roman Turovsky" To: "Gary Digman" ; Sent: Friday, May 06, 2011 5:11 AM Subject: Re: [LUTE] Re: New blog post From: "Gary Digman" "...gratuitous dissonance..."? Gary Something along the lines of http://www.youtube.com/watch?v=RhXNIrQJR80 RT - Original Message - From: "Roman Turovsky" To: "Ron Andrico" ; ; Cc: Sent: Thursday, May 05, 2011 7:28 AM Subject: [LUTE] Re: New blog post Ron, the questions are totally valid, and 98% of modern music is in fact ugly. This certainly does NOT apply to Gilbert, as his music is neither ugly nor modern (it is jazz-influenced, and as such has a certainn historicist air to it, and it is certainly not modernist). Jazz-influenced sonorities work well on lutes, as evinenced by Edin's renditions of Monk for example, or Ivano Zanenghi's own compositions. As to purely mordernist sound - it is utterly inappropriate for all lutes in general, and the baroque lute in particular, as the acoustical properties of the instrument tolerate absolutely no gratuitous dissonance and/or non-traditional methods of producing sound (I had many discussions apropos with Hans Kockelmans, who has a lot of experience both as a lutenist and an avant-garde composer). Modernism on lutes sounds half-ass at best, and daft at worst. Only one modernist idiom has some real potential on lutes, and that is Minimalism, due to its adherence to consonance and rhythmic interest. RT - Original Message - From: "Ron Andrico" To: ; Cc: Sent: Thursday, May 05, 2011 10:05 AM Subject: [LUTE] Re: New blog post Gilbert, Arto: I don't recall having described modern music as 'ugly' nor having railed against inventiveness. My point is just to ask the questions. But I will add that the 16th century lute was designed for and excels at transparent polyphony and, while modern chordal sounds can work, I haven't see much polyphonic writing of new music for the lute. Best wishes, Ron Andrico > Date: Thu, 5 May 2011 16:26:41 +0300 > To: gilbert.is...@telenet.be > CC: praelu...@hotmail.com; lute@cs.dartmouth.edu > From: wi...@cs.helsinki.fi > Subject: [LUTE] Re: New blog post > > > Yes Gilbert! > > And they were really very inventive already in 17th cetury; just take a > look to La Comete by Gallot: > > http://www.cs.helsinki.fi/u/wikla/mus/11_courseLute/GallotsCometeM.pdf > > Arto > > On Thu, 5 May 2011 15:21:04 +0200, "Gilbert Isbin" > wrote: > > Why should a modern voicing sound ugly on a lute. Play Dm11 for instance. > > > Not bad. Gm13/D . What's wrong with it ? Sounds very beautiful to me. > > > > Why shouldn't it be possible to integrate lute techniques in modern lute > > compositions? Try C9sus4 followed by a bass line, or a single note run on > > > the top voice, or in the middle voice. Sounds pretty ok to me. > > > > I think people from the 16th century would have a good laugh about this > > discussion. It was a time in which so many creative things happened. New > > compositional techniques, new lute techniques, new instruments, .. > > > > Gilbert. > > > > > > > > http://users.telenet.be/gilbert.isbin/contents.html > > > > - Original Message - > > From: "Ron Andrico" > > To: > > Sent: Thursday, May 05, 2011 2:06 PM > > Subject: [LUTE] New blog post > > > > > >> To All: > >> We have a new blog post raising a few questions about modern music on > >> the lute - not against the idea, by the way. > &g
[LUTE] Another big spread in a local paper
Back in November - http://torban.org/ukrweekly_112810.pdf Looked better than sounded, but RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: More on modern music
Arto, art is not a democratic process... and generalization is an essential element in the former. RT - Original Message - From: "wikla" To: "Ron Andrico" Cc: Sent: Saturday, May 07, 2011 5:42 PM Subject: [LUTE] Re: More on modern music So, no critcs of the critics? To me the following kind of attitudes are pure facism: "As to purely [modernist] sound – it is utterly inappropriate for all lutes in general, and the baroque lute in particular, as the acoustical properties of the instrument tolerate absolutely no gratuitous dissonance and/or non-traditional methods of producing sound …" Generalizations on generaliztions. Blaming a genre as such. How this kind of thinking is possible today? Well, seems to be the unhappy trend these days anyhow... Arto On Sat, 7 May 2011 15:31:52 +, Ron Andrico wrote: To All: Our last blog post on modern music for the lute created some discussion and raised some very interesting points. We have a follow-up posting today with a link to a recording of one of our modern songs, just to be fair. [1]http://mignarda.wordpress.com Best wishes, Ron & Donna -- References 1. http://mignarda.wordpress.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 twelve-tone Jigg by Margriet Verbeek
for fairness' sake it should be noted that that jigg is merely atonal, and not dodacaphonic, as it contains repeated notes, which are not permissible in strict 12tone composition. RT - Original Message - From: "Stuart Walsh" To: "Lute Net" Sent: Saturday, May 07, 2011 5:57 PM Subject: [LUTE] a twelve-tone Jigg by Margriet Verbeek Here's a shot at a rather jaunty Jigg, written in 1996, looking back to the past glories of serial composition? [1]http://www.youtube.com/watch?v=q00pBvOP9r8 Stuart -- References Visible links 1. http://www.youtube.com/watch?v=q00pBvOP9r8 Hidden links: 2. http://www.youtube.com/watch?v=q00pBvOP9r8 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: a twelve-tone Jigg by Margriet Verbeek
For guitar, and my initial reaction was corroborated by the source. I also suspect that it would be a lot more pungent on guitar, as the consonances in the lute overtones take edge off that, and the piece seemed lacking in substance to me. Stuart, keep at it, the enlightenment value of this project is immense. RT - Original Message - From: "Andrew Gibbs" To: "Lute List" Sent: Sunday, May 08, 2011 5:31 AM Subject: [LUTE] Re: a twelve-tone Jigg by Margriet Verbeek Thanks Stuart - like it! Do you know: did Margriet Verbeek write this specifically for lute - or for guitar? Best Andrew On 8 May 2011, at 10:20, Stuart Walsh wrote: On 08/05/2011 07:22, Gilbert Isbin wrote: A very nice happy composition, well played and the video fits wonderfully with the music.Sounds great on the lute.! Gilbert http://users.telenet.be/gilbert.isbin/contents.html Thanks Gilbert. It's fun to play. And unusual to have twelve-tone music without the angst. And thanks to the demented tit who was going mad on a garden ornament just outside my house a few months ago. Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: a twelve-tone Jigg by Margriet Verbeek
No, guitar procuces a lot less overtones. Hence the "silver sound" of them lutes. RT From: "Edward Mast" Roman, what you say about the consonances in the lute overtones is interesting. For those of us less familiar with the characteristics of both lute and guitar overtones, could you elaborate a bit about the differences? Are you saying that the guitar produces more dissonances in its overtone series? Thanks, Ned On May 8, 2011, at 9:49 AM, Roman Turovsky wrote: For guitar, and my initial reaction was corroborated by the source. I also suspect that it would be a lot more pungent on guitar, as the consonances in the lute overtones take edge off that, and the piece seemed lacking in substance to me. Stuart, keep at it, the enlightenment value of this project is immense. RT - Original Message - From: "Andrew Gibbs" To: "Lute List" Sent: Sunday, May 08, 2011 5:31 AM Subject: [LUTE] Re: a twelve-tone Jigg by Margriet Verbeek Thanks Stuart - like it! Do you know: did Margriet Verbeek write this specifically for lute - or for guitar? Best Andrew On 8 May 2011, at 10:20, Stuart Walsh wrote: On 08/05/2011 07:22, Gilbert Isbin wrote: A very nice happy composition, well played and the video fits wonderfully with the music.Sounds great on the lute.! Gilbert http://users.telenet.be/gilbert.isbin/contents.html Thanks Gilbert. It's fun to play. And unusual to have twelve-tone music without the angst. And thanks to the demented tit who was going mad on a garden ornament just outside my house a few months ago. Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: a twelve-tone Jigg by Margriet Verbeek
meant proDUCes. RT No, guitar procuces a lot less overtones. Hence the "silver sound" of them lutes. RT From: "Edward Mast" Roman, what you say about the consonances in the lute overtones is interesting. For those of us less familiar with the characteristics of both lute and guitar overtones, could you elaborate a bit about the differences? Are you saying that the guitar produces more dissonances in its overtone series? Thanks, Ned On May 8, 2011, at 9:49 AM, Roman Turovsky wrote: For guitar, and my initial reaction was corroborated by the source. I also suspect that it would be a lot more pungent on guitar, as the consonances in the lute overtones take edge off that, and the piece seemed lacking in substance to me. Stuart, keep at it, the enlightenment value of this project is immense. RT - Original Message - From: "Andrew Gibbs" To: "Lute List" Sent: Sunday, May 08, 2011 5:31 AM Subject: [LUTE] Re: a twelve-tone Jigg by Margriet Verbeek Thanks Stuart - like it! Do you know: did Margriet Verbeek write this specifically for lute - or for guitar? Best Andrew On 8 May 2011, at 10:20, Stuart Walsh wrote: On 08/05/2011 07:22, Gilbert Isbin wrote: A very nice happy composition, well played and the video fits wonderfully with the music.Sounds great on the lute.! Gilbert http://users.telenet.be/gilbert.isbin/contents.html Thanks Gilbert. It's fun to play. And unusual to have twelve-tone music without the angst. And thanks to the demented tit who was going mad on a garden ornament just outside my house a few months ago. Stuart To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Cantio Sarmatoruthenica XXIII
http://www.torban.org/sarmatoruthenicae/audio/326.mp3 http://www.torban.org/sarmatoruthenicae/images/326.pdf RT http://www.torban.org/sarmatoruthenicae/audio/325.mp3 http://www.torban.org/sarmatoruthenicae/images/325.pdf RT http://www.torban.org/sarmatoruthenicae/audio/324.mp3 http://www.torban.org/sarmatoruthenicae/images/324.pdf & http://www.torban.org/sarmatoruthenicae/audio/323.mp3 http://www.torban.org/sarmatoruthenicae/images/323.pdf & http://www.torban.org/sarmatoruthenicae/audio/322.mp3 http://www.torban.org/sarmatoruthenicae/images/322.pdf http://www.torban.org/sarmatoruthenicae/audio/321.mp3 http://www.torban.org/sarmatoruthenicae/images/321.pdf Enjoy. Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Cantiones
New videos by Stuart, Eugene and Edward at http://www.torban.org/sarmatoruthenicae !!! Enjoy! Amitiés, RT To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: MP3 Conversion
SoundForge with the LAME codec. RT - Original Message - From: "Stephen Arndt" To: "lute mailing list list" Sent: Saturday, May 21, 2011 11:25 AM Subject: [LUTE] MP3 Conversion Dear lute friends, I have been using Audacity to convert wave files to mp3 format but am not particularly happy with the result. There sometimes seems to be a degradation of the sound, and the best word I can think of to describe the result is "wobbly." Can anyone recommend a better program to perform the conversion? Many thanks, Stephen Arndt -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
