James,
Everyone in this debate should read Matanya's blog entry for the day, it
makes things clear and it is very well structured. First he explains the
premisses - to have a bit of fun on the lute list , then he describes
the execution - show the superiority of his wit and talent and
guitarist
In a message dated 8/28/2005 8:47:20 PM Pacific Daylight Time,
[EMAIL PROTECTED] writes:
As to his style: it is a small collection of journalistic cliches rehashed
ad nauseam.
Probably; but I've been reading this list for the last three years or so,
and I don't recall your contributions to en
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I have a question about the lute (!) that I have never heard a good
answer to. Why did each course consist of a pair of strings, rather
than a single string? This was the case with other instruments such as
guitar, vihuela, mandlin, etc. also from the earliest up until the
baroque, so surely
> I, for one, would defend Matanya's right to have his say on this forum. I
> have known Ophee and Ness personally for many years and consider them both
> generous and knowledgeable men.
>
> Some of you may not like Matanya's style. So what?
Some (if not most) of us detest Matanya's substance.
As t
Back in April my group and I played in a small 60 seat theater. The janitor
decided to do some housework behind a very thin partition during the opening
number which was ME ALONE in a passacaglia. There is no business like
showbusiness, it took him more than a minute to realize that ha was doing
so
Dear Thomas,
Yes, thanks for further confirmation that the Codice Lauten-Buch survives. So
there is a possibility that we will see it some day. I think there has been
some attempt to get the owner to permit a facsimile. I mentioned earlier gthat
Paul O'Dette mentions its survival in his CD, s
Dear Stewart,
I'm in total agreement here. There are two further points:
I like to use the 3rd finger rather than the 4th for notes on the 4th,
5th and 6th courses, because the strings are thicker and easier to hold
with a thicker finger, also because the 4th finger is so often needed on
hig
> As far as I can judge the story of the Chilesotti Codice which survived
> and about the lutenist giving a house concert from it is true - I met
> the lutenist in question and he confirmed the story.
Who was it?
To get on or off this list see list information at
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As far as I can judge the story of the Chilesotti Codice which survived
and about the lutenist giving a house concert from it is true - I met
the lutenist in question and he confirmed the story.
It seems the manuscript is preserved in a bank tresor (I've been told
there would be many treasures in
In a message dated 8/28/2005 8:53:29 AM Pacific Daylight Time,
[EMAIL PROTECTED] writes:
The fact is that
content-based restrictions are inherent in this list, and the only
question is where the lines are to be drawn.
The fact is that content-based restrictions are inherent in this list, and
th
- Original Message -
From: "Roman Turovsky" <[EMAIL PROTECTED]>
To: "Richard Stone" <[EMAIL PROTECTED]>;
Cc: "Ralf Bachmann" <[EMAIL PROTECTED]>
Sent: Sunday, August 28, 2005 9:04 AM
Subject: [BAROQUE-LUTE] Re: Philippo Martino and the Salzburger Lautencodex
>>
>> This is lovely music
I for one, delete everything that comes from Matanya or talks about
MatanyaI have been on this list for many years, do not contribute
much, but cannot be bothered with Matanya's prejudiced and biased
comments. He has however the right to his opinions. As far as I know,
he has never used fo
I, for one, would defend Matanya's right to have his say on this forum. I
have known Ophee and Ness personally for many years and consider them both
generous and knowledgeable men.
Some of you may not like Matanya's style. So what? This is supposedly an open
forum for the free exchange of ideas
David,
Yes, I've found that de Visee's RH fingering
makes good sense most of the time, it is quite
difficult for me from both my modern guitar background
and my experience playing thumb-under lute. I am
actually amazed at the quality and sophistication of
this music given that the right han
>
> This is lovely music. Thanks for making the MIDI files available. Are
> the treble and bass parts that I heard in the MIDI files
> reconstructions, or are they available in the Augsburg 1732 print?
> There's a lot of very nice counterpoint and I find his non-overuse of
> sequence really re
Dear Ralf,
This is lovely music. Thanks for making the MIDI files available. Are
the treble and bass parts that I heard in the MIDI files
reconstructions, or are they available in the Augsburg 1732 print?
There's a lot of very nice counterpoint and I find his non-overuse of
sequence really ref
It is ostracism rather. Not a pleasant thing, no one enjoys it. Necessary
however.
MO is still free to express himself, which he does immediately and
vocipherously on his blog.
I am almost flattered by the attention he gives yours truly there. I
couldn't imagine I'd inspire such envy, but MO is now
Dear David,
an interesting topic.
I have learned that the a-finger should be omited whenever possible
(especially when playing thumb-inside) and to use it just for arpeggios. This
makes most sense if you "glue" the pinky on the soundboard because it's much
easier to obtain a stable position of
I am religiously trying to follow De Visée's right hand fingering of his
theorbo pieces (Saizenay MS): no third finger! I find it not easy to leave
my well-trained guitar-a out of it, but it does improve my sound (changing
to no nails and gut strings also helped ;-). Anyone else has the same or
con
How do people deal with disruptions during a concert? The lute requires
a lot of concentration from the audience because the sound is fairly
thin, and a bad case of spaghetti fingers can really ruin the
performance, and even a heavy cougher who refuses to leave the room can
cause a fatal loss o
<[EMAIL PROTECTED]> schrieb:
> Okay, I get it; everyone(?) hates Mr. MO. It's still censorship.
well, I for one do not hate him. IMHO it is a stupid thing to engage in
flame wars and develop resentment for someone you possibly haven't even
met personally.
There are those whose language sometimes
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