[BAROQUE-LUTE] Re: Weiss and Hasse

Thomas Schall wrote: BTW: Per definition the most uninspired music ever written is the music by PDQ Bach I don't know if you can define inspiration, but I can think of few things more inspired than the first bagpipe solo in the Sinfonia Concertante or the entrance of the double reeds in the

[BAROQUE-LUTE] Re: Koyunbabaroque

On Saturday, Jul 29, 2006, at 05:52 America/Los_Angeles, Roman Turovsky wrote: I am not familiar with Domeniconi's music. I'm impressed that you've managed to avoid Koyunbaba, given its monster-hit status in the classical guitar world for the last 15 or so years. Does anyone have or has

[BAROQUE-LUTE] Re: Baroque lute newbie (waaahooo!)

On Aug 22, 2007, at 6:59 PM, Jim Abraham wrote: have Satoh's and Lundgren's methods, and I've looked at Roman's website, so I understand the tuning, but if I tune the first course to f3, the 13th course is waaay too slack to play. Even the first course seems too slack at f3, but then

[BAROQUE-LUTE] Re: Plainte - Weiss

On Sep 6, 2007, at 5:44 AM, Roman Turovsky wrote: There was an exchange with TCrawford apropos. And Tim used to join Weiss for tea? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Weiss: use of 5th and 6th course

On Sep 29, 2007, at 11:18 AM, T. Diehl-Peshkur wrote: (by the way, I am a harpsichordist by training, not really a lutenist- yet, so if my thinking is skewed, just say so.) I'm not qualified to comment on your thinking (ten years of marriage to a harpsichordist inclines to me suspect

[BAROQUE-LUTE] Re: Theorbo

Music written for a big instrument tends to take the size into account. There aren't a lot of big left-hand stretches in the Italian theorbo music I've played. I don't know much about the French repertoire. On Dec 8, 2007, at 9:04 AM, T. Diehl-Peshkur wrote: Interesting. This is all new

[BAROQUE-LUTE] Re: Doubling The Parts?

What I mean is: when performing that in an ensemble, what's the point of the lute doubling one of the other parts? Projection in a large performance space may have been an issue; it could have been a way of creating a super-lute. spaces. Haydn's piano trios often have a similar texture,

[BAROQUE-LUTE] Re: Pitch for French music

On Feb 13, 2008, at 3:46 PM, Edward Martin wrote: Generally, the lute in mid to later 17th century France was the d minor tuning. The top string was usually at f. For a length of 68 cm, generally, a gut treble can go to f at a=415. If you exceed 68 cm, the standard for a probably

[BAROQUE-LUTE] Re: Pitch for French music

On Feb 13, 2008, at 6:42 PM, Edward Martin wrote: Yes, the French seem to have played at a lower standard. Well, let's not be unkind... Even Hoppy Smith's Vieux Gaultier recording was at 392. I didn't know Hoppy was =06French. -- To get on or off this list see list information at

[BAROQUE-LUTE] Re: Letter to the Editor

On Mar 3, 2008, at 7:27 AM, Rob MacKillop wrote: How much did lute players learn about music (not just lute playing) in the Renaissance and Baroque periods? They learned what other musicians learned, and were educated in the same ways. In the renaissance, they'd learn singing, the

[BAROQUE-LUTE] Re: More about Hor che Tempo (Merula)

On Mar 5, 2008, at 3:09 AM, Thomas Tallant wrote: Hor che Tempo is a lullaby, thus the droning quality of most of continuo part. There is a shift in tonality and mood at the end that is tricky. Overall, it's a deceptive piece: It's long and difficult for the singer (technically and

[BAROQUE-LUTE] Re: continuo playing in Germany

On Apr 17, 2008, at 11:05 AM, Rob MacKillop wrote: Re the German Lute Society's Fundamenta der Lauten-Musique und Zugleich der Composition, Rob wrote: Is there any possibility that this will be translated into English? It comes with an English booklet. Here are some excerpts of a review

[BAROQUE-LUTE] Re: Fundamenta der Lauten-Musique

After I quoted parts of my review of Fundamenta der Lauten-Musique und Zugleich der Composition someone asked if the shortcomings of the English fascicle were such that I'd recommend against buying it. The answer is a qualified no. It's a valuable book, offered for a mere 15 Euros, and

[BAROQUE-LUTE] Re: Kirnberger on lutes and temperament

On Apr 27, 2008, at 11:42 AM, Dale Young wrote: It was, however, the time when the best music was written for it, ever. 1779? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Mysterious whatnots

On Dec 28, 2008, at 7:19 AM, Arthur Ness wrote: I've always wondered, You and everyone else... to what does the title Les Baricades Mysterieueses refer? One theory is that it refers to the the repeated suspensions in the piece. Others are more fanciful. It's not the only baffling

[BAROQUE-LUTE] Re: Minuet and Trio

On May 8, 2009, at 9:24 AM, David Rastall wrote: In the mid-Baroque (specifically Lauffensteiner), when you're playing a minuet and trio, is it historically accurate to play them at slightly different tempi, or is that strictly a Classsical-period thing? Someone who actually danced the

[BAROQUE-LUTE] Re: Dutch theorbo painting online

On May 9, 2009, at 3:12 PM, chriswi...@yahoo.com wrote: In all seriousness - WERE there even left handed people around at this time and in this culture? Before my time I'm told, kids in American schools were ALL forced to write with the right hand. Left handedness was not tolerated. This

[BAROQUE-LUTE] Re: Purcell and lute

John Wilson knew Purcell. On May 28, 2009, at 3:04 AM, Jerzy Zak wrote: Dear All, Seemingly a simple question -- what would you play on the lute/ theorbo/guitar (or like to hear) in a program of Purcell songs, if they are accompanied by such an instrument? Mace excluded, as he is another

[BAROQUE-LUTE] Re: Various UPDATES, was Re: Savarez, Aquila Pyramid equivalencies

Thanks for the handy reference, but the second link works only if gauges is spelled right: http://torban.org/images/string-gauges-conversion.pdf On Aug 4, 2009, at 10:46 AM, Roman Turovsky wrote: 1. The 2 string conversion charts, plain and overspun, comfortably together -

[BAROQUE-LUTE] Re: Ton Koopperson - pitch of J S B Cantatas (YouTube)

On Sep 5, 2009, at 6:07 AM, David Rastall wrote: But I don't understand: with all the transposing going on between 465, and 415, what is the outcome pitched at? When TK says, put the whole thing in Eb, and the thing is ready, my question is: Eb tuned in what?...415 or 465? They're playing

[BAROQUE-LUTE] Re: Difference 13c.-11c. vs. 10c.-6c.?

On Oct 28, 2009, at 6:40 PM, chriswi...@yahoo.com chriswi...@yahoo.com wrote: It may be a problem for us, but it wasn't for them. French lute music remained current throughout the German baroque. The Gaultier/Mouton La Belle Homicide shows up in the Augsburg ms. right alongside

[BAROQUE-LUTE] Re: D-minor tuning and ET?

overemphasis. RT - Original Message - From: howard posner howardpos...@ca.rr.com To: BAROQUE-LUTE Lutelist baroque-lute@cs.dartmouth.edu Sent: Sunday, December 13, 2009 12:02 PM Subject: [BAROQUE-LUTE] Re: D-minor tuning and ET? OK, gang: if you're using near equal temperament

[BAROQUE-LUTE] Re: North American baroque?

On Jan 16, 2010, at 8:19 AM, Edward Martin wrote: There isn't a great deal of early North American music of which I am aware, but one of the prominent musicians was Francis Hopkinson. Perhaps you could find some pieces by him. http://en.wikipedia.org/wiki/Francis_Hopkinson But be aware that

[BAROQUE-LUTE] Re: A couple of questions...

On Nov 19, 2010, at 3:16 PM, wikla wrote: So if I am asked to play the lute parts in the St. John, to what am I really asked?? At the risk of sounding obvious, you should ask the director, the only person who knows. Bach made changes to both his passions, and both involved eliminating a

[BAROQUE-LUTE] Re: A couple of questions...

On Nov 19, 2010, at 7:03 PM, Roman Turovsky wrote: on a Cezar Mateus archlute. Thanks. You must have really good eyes... To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Lute Strings for theorbo

On Aug 11, 2011, at 6:04 AM, Martyn Hodgson wrote: this matter of theorbo sizes still seems to be an area of misunderstanding. True, but we like you anyway. BTW, I recently saw Toy Story 3 with my family, and heartily recommend it. -- To get on or off this list see list information at

[BAROQUE-LUTE] Re: A=392

On Nov 28, 2011, at 5:15 PM, sterling price wrote: My question is: should I just tune the same 415 strings down or get a new set of strings for 392? Yes. Those are pretty much the only two options. Right now it is at 392 but I'm wondering if it might sound better with new strings.

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

On Nov 30, 2011, at 7:39 AM, David van Ooijen wrote: Ask your colleagues if they can transpose a lute song. What evidence do you have that he has colleagues? -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: A=392

On Nov 30, 2011, at 12:35 AM, William Samson wrote: I sometimes wonder why I haven't come across much in the way of contemporary agonisings about pitch standards and compatibility of lutes with their wide range of scale lengths for a given nominal pitch. Presumably this would have been

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

On Nov 30, 2011, at 9:27 AM, David van Ooijen wrote: Oh dear, English again - and from the other side of the pond at that! Perhaps I'm guilty of the Carly Simon song here: You're so vain, you probably think this song is about you. My humble apologies to all involved if that is the case. Not

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

On Dec 1, 2011, at 8:30 AM, Martyn Hodgson wrote: We've already discussed this: the range of these songs is well within that of the generality of sopranos and tenors (see David Hill's recent paper which also discusses this matter) so there is really no need to transpose except, of

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

On Dec 2, 2011, at 7:29 AM, Roman Turovsky wrote: Howard, think a little - transposition is precluded by temperament. I'll let David know. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute tablature on sight

On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote: As David Hill points out (have you bothered to read his paper?) the voice generally expected when the songs were composed was soprano/tenor. As he says, the male alto, to take David Van Oijan's personal preference, was certainly

[BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute tablature on sight

On Dec 2, 2011, at 10:48 AM, Nancy Carlin wrote: A while back on the lute list there was a link to Hector Sequera's dissertation about Paston - very interesting. It's 100 years earlier, Actually, Paston, being Elizabethan, is the period we're talking about. You were led astray by my

[BAROQUE-LUTE] Re: Transposing lute tablature on sight [was Re: A=392]

On Dec 2, 2011, at 11:14 AM, Roman Turovsky wrote: The idea of instant transposition on an instrument PRECLUDES meantone temperaments, for starters. It would only possible in EqualT. in a hypothetical situation that a given transposition causes no hideously hard fingerings. Say, your singer

[BAROQUE-LUTE] Re: Male alto in Lute songs? wasTransposing lute tablature on sight

On Dec 3, 2011, at 1:57 AM, Martyn Hodgson wrote: Thank you for this Howard and for your time. And thank you for restating what you'd already written. Since I've already responded to it, I'll spare the list further comment. -- To get on or off this list see list information at

[BAROQUE-LUTE] Re: Dubut and Jean Mercure

On Dec 5, 2011, at 1:42 PM, William Samson wrote: There were at least two DuButs and possibly three. ..fear, surprise, and ruthless efficiency...and an almost fanatical devotion to the Pope -- To get on or off this list see list information at

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote: Equal temperament was used on lutes from the 16th century onwards Except by Gerle (1532) And the Dowlands (1610) And Ganassi (1543) And Mersenne (1636) And anyone who read their books and followed their instructions And anyone who played with

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

On Jan 6, 2012, at 9:51 AM, Jean-Marie Poirier wrote: Mersenne insists that the best way to play in tune with fretted instruments in particular, is to use some sort of equal temperament. And yet the fret placement he gives in Harmonie Universelle is decidedly unequal. -- To get on or off

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote: Although Denis does not recommend openly a sort of equal temperament, he acknowledges the fact that fretted instruments are not naturally and technically apt for unequal temperaments. I think his ivory frets, which could be adjusted

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

On Jan 7, 2012, at 2:09 AM, Martyn Hodgson wrote: Incorrect again Howard - he does not say those who use tastini are 'prominent' players as you do (from where do you get this), but that they are foolish. You must have missed Jean-Marie's post yesterday, quoting Galilei's Fronimo:

[BAROQUE-LUTE] Re: Sharp keys seem to work well in d-minor tuned lute...

On Jan 7, 2012, at 2:03 AM, Martyn Hodgson wrote: Read Lindley's book on lute temperaments if you don't believe me. I have read it, and it's a major reason I don't believe you. Lindley ignores or dismisses nearly all the evidence that contradicts his thesis, often comically. My personal

[BAROQUE-LUTE] Re: Satoh Recording

David Rubio 1976, after Tielke On Apr 30, 2012, at 3:41 PM, sterling price wrote: Hi--Today I recieved a 2LP recording by Toyohiko Satoh called 'French Baroque Lute Music' from 1978. Unfortunatly the liner notes are missing from the set. If someone has the recording, could you check and

[BAROQUE-LUTE] Re: Minkoff contact

On May 16, 2012, at 8:23 AM, R. Mattes wrote: This is partly right and partly wrong - but first let's be clear about what we talk here: the rights on the composition (which most likely ended centuries ago :-) or the right of the _image_ of the original work. Those remain with the owner of

[BAROQUE-LUTE] Re: Bruwell modern edition?

On Aug 8, 2012, at 7:16 AM, David van Ooijen wrote: Did I write Bruwell? No wonder I couldn't find any references in the library catalogue ... ;-) That's what happens when you use a looking glass. -- To get on or off this list see list information at

[BAROQUE-LUTE] Re: BWV 1025

On Aug 13, 2012, at 3:48 AM, Taco Walstra wrote: Interesting is if you look at the trauerode score (198) aria is that it indicates liuti at the start of score, i.e. plural. Would this mean that the piece was played /intended to be played by more than one lute? There are two obbligato

[BAROQUE-LUTE] Re: 3rd finger in french baroque?

On Feb 25, 2013, at 5:38 AM, James Jackson weirdgeor...@googlemail.com wrote: don't forget the Saizenay MS was compiled towards the end of the golden age of French baroque, when it was obvious it was coming to an end. Were there odd-looking men on street corners with signs saying,

[BAROQUE-LUTE] Re: duos with alto recorder

On Jun 20, 2014, at 8:58 AM, Ken Brodkey kbrod...@pacbell.net wrote: What about flute? Can the recorder play most baroque flute music Not without major surgery on most flute parts. The alto recorder bottoms out at first-space F, while the flute goes down to D or C. To get on or off this

[BAROQUE-LUTE] Re: duos with alto recorder

On Jun 21, 2014, at 4:12 PM, Ken Brodkey kbrod...@pacbell.net wrote: It looks like it's time, though, to get my act together and learn to realize figured bass. You’re going to have a busy month. To get on or off this list see list information at

[BAROQUE-LUTE] Re: redrilling bridges (was Necking with Swans or whatever)

On Jun 24, 2014, at 12:07 PM, Matthew Daillie dail...@club-internet.fr wrote: Anyway, ask any reputable maker, it's not a job they enjoy doing (and I have had it done on a couple of my lutes). Some makers prefer to make a new bridge which can be glued on to the soundboard without it being

[BAROQUE-LUTE] Re: resting rt hand pinky

> On Mar 14, 2016, at 2:41 PM, Roman Turovsky wrote: > > Mine is too short, so I don't, ever. And we know what Marco Rubio says about guys with short pinkies. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: Welcome to the Lute Mustang

Just in case any of us thought there are no new frontiers to conquer. > On May 7, 2017, at 6:51 PM, sterling price > wrote: > >Here is a video I made this morning--- > Sterling > [1]Welcome to the Lute Mustang > >

[BAROQUE-LUTE] Re: Harp Sharp etc, on an 11c lute

> On Oct 18, 2017, at 1:15 AM, Rob MacKillop wrote: > > There is nothing "authentic" about a single-strung 11c lute, I am the > first to admit. The truth is, the older I get the harder it becomes to > swap between instruments. These days I mainly play guitar and

[BAROQUE-LUTE] Re: Harp Sharp etc, on an 11c lute

> On Oct 18, 2017, at 10:56 AM, Rob MacKillop wrote: > > I don't think you ever will recover, Howard. Send me your shrink bills. Not possible. In SSTS (Single-Stringing Trauma Syndrome) cases she insists on cash up front. To get on or off this list see list

[BAROQUE-LUTE] Re: Johann Christian Hoffmann, 14 course swan-neck lute in Leipzig

> On Feb 13, 2018, at 3:38 AM, Luca Manassero wrote: > > this could be a sort of proof that lutes extending to the contra-G > existed, but in that case why is this an unicum? Because all the other 14-course lutes were lost in fires, or eaten by termites, or rotted in

[BAROQUE-LUTE] Re: thumb in or out???

> On Aug 3, 2019, at 3:06 PM, G. C. wrote: > > Nigel North has a relaxed thumb out playing style. Notice how the > pinky wanders! And the thumb wanders inside the fingers (e.g., 0:58, 6:58). I suppose whoever just wrote that he didn’t want to listen to baroque lute players who use