> At 06:30 PM 12/20/03 -0700, Eric Liefeld wrote:
>> The liner notes are a litle non-specific but I *believe* Mr. O'Dette
>> actually
>> plays a D-minor baroque lute on the recording for RV540 (listed as baroque
>> lute, Martin Bowers, 1980). This is certainly a reasonable answer as well
>> given
I shall look at those notes soon. Interesting.
ed
At 03:24 PM 12/20/03 -0800, Howard Posner wrote:
>Edward Martin at [EMAIL PROTECTED] wrote:
>
> > Paul O'Dette performs it on
> > the small instrument.
>
>He recorded it that way years ago, but I don't know that he'd do it that way
>now. In the
>> Toward the end of the 18th century (circa 1799), ...
> ..
>> In addition, there is a surviving method from (circa 1770-80)
> ..
>> I would be glad to know of other examples.
> Rather to the contrary...
> From Bohemian sources we have e.g. the Janovka's Dictionary (1701), who
> gives one of the f
Dear Jurek (please forgive me if I've gotten your name wrong),
Thank you for your note. Rest assured that I respect both your opinion and
your skepticism. The latter is certainly a healthy thing. You have
correctly
re-stated that I offer the mandora only for _consideration_ as Vivaldi's
"leuto
When Stravinsky was informed of Cage's composition " 4:32", he
remarked, "Mr. Cage should write longer compositions."
Gary Digman
--
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Dear Eric,
I know your article in the LSAQ, as well as an article by Linda Sayce
in Lute News (English LS) and I am attentive to all news about the
mandora/galichone, which seems quite in fashion nowadays ...but am
still sceptical regarding its relevance to Vivaldi's music with
''leuto''.
On
At 06:30 PM 12/20/03 -0700, Eric Liefeld wrote:
>The liner notes are a litle non-specific but I *believe* Mr. O'Dette
>actually
>plays a D-minor baroque lute on the recording for RV540 (listed as baroque
>lute, Martin Bowers, 1980). This is certainly a reasonable answer as well
>given the Dresden
Careful reading reveals that the correct phrasing of your comment is:
"Our somebodies who declined the opportunity to become nobodies are Dufay,
Josquin, etc etc"
It also reveals that the Oxford serialist's appreciation of Cage is the
actual point of your disagreement.
-Original Messag
From Cage's book "Silence or Indeterminate Noise", "I have nothing to
say and I am saying it. Let him who wishes to fall asleep fall
asleep." Cage also said that a garbage truck rolling down the street
is music to him who has ears to hear it. However, this does not mean
Hi Eugene,
>Paul O'Dette most certainly _not_ record Vivaldi's lute works that way
>now. Yes, his recording of the Vivaldi did use 6-course mandolino. Works
>to specify "mandolino" were recorded on mandolino played with a plectrum;
>works to specify "leuto," on a mandolino played fingerstyle.
Stewart wrote:
>Many thanks indeed for your message. It has troubled me greatly that
>we have disagreed over this issue, when we have seen eye to eye on
>everything else which has come up for discussion. For that reason I
>had decided earlier this evening not to pursue the thread any
>further. Bes
Hi Howard,
Just to be clear (probably a nit), all of the original leuto parts
are melodic and written in the treble clef (not specifically basso
continuo). In RV82, RV85, and RV93, the leuto parts are
continuous throughout along with the violin part(s).
The exception is the later RV540 where the
Dear Mathias,
Many thanks indeed for your message. It has troubled me greatly that
we have disagreed over this issue, when we have seen eye to eye on
everything else which has come up for discussion. For that reason I
had decided earlier this evening not to pursue the thread any
further. Besides,
Stuart LeBlanc wrote:
> Not so tough a question. A Beethoven symphony expresses the human condition
> in all its complexity. A cowbell expresses the location of a cow.
>
> That aside, a very appropriate commentary. I'm reminded of Henry Miller's
> remark:
>
> "In America, everybody has the opp
At 03:24 PM 12/20/03 -0800, Howard Posner wrote:
>Edward Martin at [EMAIL PROTECTED] wrote:
>
> > Paul O'Dette performs it on
> > the small instrument.
>
>He recorded it that way years ago, but I don't know that he'd do it that way
>now. In the 80's years ago it was pretty much accepted wisdom tha
Edward Martin at [EMAIL PROTECTED] wrote:
> Paul O'Dette performs it on
> the small instrument.
He recorded it that way years ago, but I don't know that he'd do it that way
now. In the 80's years ago it was pretty much accepted wisdom that Vivaldi
was writing for a soprano lute (I think because
Hi Kenneth,
(I think/hope that I have my bizzare formatting problems solved...
my appologies to the list!)
[EMAIL PROTECTED] wrote:
>
> I am not an expert in this area, but I CAN say that recently I saw and
> heard a beautiful gallichon (in E?) built by Paolo Busato and owned by
> Davide Rebu
Dear all,
I've just uploaded a picture from a print I found in Prague, any suggestions
about the lute?
Enjoy!
Donatella
http://spazioinwind.libero.it/donatella_galletti/
For what could be a gallichon (?) also see
http://web.tiscali.it/awebd
Dear Stewart and All:
In the most recent issue of the Lute Society of America Quarterly, Eric
Liefield make a convincing argument for the gallichon, with the part played
an octave lower than written.
Yours,
Jim
In a message dated 12/20/03 12:53:25 PM Eastern Standard Time,
[EMAIL PROTECTED] writes:
> Anyway, the mandora (or gallichone) of the period is a lute-like tenor
> instrument tuned
> to the intervals of the modern guitar, and versions were popular in both
> D and E (along
> with much larger ver
Dear Roman, Ed, Eugene, Eric and Davide,
Thank you all very much indeed for your helpful comments. I've
forwarded them all to the friend who asked, and I'll let you know if
there is any feedback. Any further thoughts on Vivaldi's concerto
will be most welcome.
It is interesting to hear about the
Dear Stewart,
I'm sorry you were disappointed. I didn't mean to attack you. When I wrote the list has
been used to reading your moderate statements I meant to say that one of the features I
for one do appreciate of your contributions is that they are based on reason and
plausibility rather than on
Dear Stewart,
In one sense 4' 33" is of course utterly ridiculous, in another it's not.
Needless to say, neither I nor anyone else sits there listing to it time and
again. But it is meaningful in as much as it makes a point. It asks the question
(the extreme form of the cowbell question) when i
> Indeed, this has been a question that has bothered me for some time. Even
> though I play the mandolino, I believe (for a variety of reasons) that
> the leuto
> part belongs at the lower octave, in the tenor range. These pieces are
> certainly
> playable on a wide variety of instruments.
>
>
Hi Stewart,
Indeed, this has been a question that has bothered me for some time. Even
though I play the mandolino, I believe (for a variety of reasons) that
the leuto
part belongs at the lower octave, in the tenor range. These pieces are
certainly
playable on a wide variety of instruments.
M
> There are various approaches to this piece. Paul O'Dette performs it on
> the small instrument.
> I have done it on a g lute, on an archlute, I did it once on an alto lute
> (it is easier!), and I once did it on a d soprano lute, an octave higher!
> People claim that the treble clef without the
There are various approaches to this piece. Paul O'Dette performs it on
the small instrument.
I have done it on a g lute, on an archlute, I did it once on an alto lute
(it is easier!), and I once did it on a d soprano lute, an octave higher!
People claim that the treble clef without the 8, ind
At 11:24 AM 12/20/03 -0500, Roman Turovsky wrote:
> > I have just had a phone call from someone who has been asked to play
> > the Vivaldi lute concerto, but they don't know what instrument it is
> > for. It goes up to c''', i.e. two octaves above middle c'.
> >
> > In his book _The Early Mandolin_
> I have just had a phone call from someone who has been asked to play
> the Vivaldi lute concerto, but they don't know what instrument it is
> for. It goes up to c''', i.e. two octaves above middle c'.
>
> In his book _The Early Mandolin_, Early Music Series 9 (Oxford:
> Clarendon Press, 1989) Ja
Dear All,
I have just had a phone call from someone who has been asked to play
the Vivaldi lute concerto, but they don't know what instrument it is
for. It goes up to c''', i.e. two octaves above middle c'.
In his book _The Early Mandolin_, Early Music Series 9 (Oxford:
Clarendon Press, 1989) Jam
> Mahler was a conductor who is remembered as a great composer.
>
> Boulez is a composer who I believe will be remembered for his great
> conducting.
Right-on-the-money.
RT
>
>> Sorry you so disapprove of Boulez, RT. But he is a real composer, I've
>> seen
>> him at work, composing, rehearsing
I'm afraid I must agree with Roman and Stewart. I have trouble putting Cage and such
in the same category as, say, Bach. Whatever it is and whether you like it or not (I
personally find it rather a joke) it is a different field of endeavor. Roman's
characterization of it as a form of "theater"
> You name the problem - I will never understand how clever marketing made
> "artists" out of craftsmen like Warhol or Cage (I'm not sure if
> craftsman isn't a compliment).
Don't forget Joseph Beuys, lest this might look like an American Problem.
RT
Dear Michael,
Sorry I got your name wrong in my last message.
Best wishes,
Stewart.
Dear Mathias,
Many thanks for your message. I'm surprised and disappointed that
you think my message (reproduced below) is immoderate. Perhaps we
should clarify exactly what it is we are talking about.
Some people have tried to widen the debate to embrace the music of
various 20th-century compose
> I'm sorry to say that I'd rather have expected some kind of a moderate
> statement the way
> this list has been used to hear from you.
>
> To say that something you do not understand or do not find what you expect to
> find in it
> is not art or is not beautiful or uplifting (and what else you s
Dear Stewart,
Your delightfully ironic remarks about Beethoven's Eroica and bad tempered
cowbells in fact hit the nail on the head. As a student when I wasn't at=20
Oxford=20
doing research into 12-tone music, German literature, etc., I would spend my
time in the Austrian Alps, climbing alone, an
I hope my message has not arrived with all those =20 signs and gawd knows
what else. I normally click my own off, when they arrive, but looked at this one
by accident. What can one do? Cheers all,
TB
--
Dear Stewart,
Your delightfully ironic remarks about Beethoven's Eroica and bad tempered=20
cowbells in fact hit the nail on the head. As a student when I wasn't at Oxf=
ord=20
doing research into 12-tone music, German literature, etc., I would spend my=
=20
time in the Austrian Alps, climbing alo
OK, I was going to shut up. But I've seen particular pieces mentioned on
this thread (there was a comment on a cow-bell being an improvement on a
European composer of a recent period - pardon that I don't check back on the
message as to which one).
I am disappointed.
> To say that something you d
Dear Stewart,
I'm sorry to say that I'd rather have expected some kind of a moderate statement the
way
this list has been used to hear from you.
To say that something you do not understand or do not find what you expect to find in
it
is not art or is not beautiful or uplifting (and what else yo
If this old curmudgeon may quote the rather prosaic W. S. Gilbert
(Patience).
"If you're anxious for to shine/in the high aesthetic line/as a man of
culture rare,
You must get up all the germs, of the transcendental terms/ and plant them
everywhere.
You must lie upon the daisies and discourse in n
Thomas Schall at [EMAIL PROTECTED] wrote:
> Strawinski's comment propably meant any time Cage spends with nothing is
> better than if he would produce tones ...
Probably?
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