Moin all,
i think not for all luteplayers! I tend to wet fingertips. When I tried
to play on a friends gut lute, the strings were out of tune in some
seconds. I thank god that we have plastic strings!
Greetings from germany
w.
p.s. this email is typed with wolfgangs wet finger tips
It occurs to me there may be a touch of irony in this concern with being
historically correct, We're the artists whose aesthetic we are trying to
embody concerned about being historically correct? If not, is not our concern
for historical correctness unhistorical?
Best to All,
Matthew Wadsworth makes very beautiful lute cds on all-gut lutes. Listen to
his Robert Johnson CD 'Away Delights' on www.magnatunes.com. Isn't Jacob
Herringman also on gut? Great player with great sound, anyway. Also on
magnatunes.
David
*
David van
Dear Wolfgang and all,
On Friday 28 October 2005 11:03, Wolfgang Wiehe wrote:
i think not for all luteplayers! I tend to wet fingertips. When I
tried to play on a friends gut lute, the strings were out of tune
in some seconds. I thank god that we have plastic strings!
Vance,
Then the purest would be playing on a 300 year old instrument, something few
people 300 years ago would have been doing.
Craig
Craig R. Pierpont
Another Era Lutherie
www.anotherera.com
Vance Wood [EMAIL PROTECTED] wrote:
Carl:
Should not the purist play only real
museum instruments
I think it was one of JS Bach's sons who composed a lute piece concerning
strings:
Chaconne a son gout
- Original Message -
From: Wolfgang Wiehe [EMAIL PROTECTED]
To: [EMAIL PROTECTED] Dartmouth. Edu lute@cs.dartmouth.edu
Sent: Friday, October 28, 2005 4:03 AM
Subject: [LUTE] Re:
It should be noted that the momofiliment for nylon strings is not being made
exclusively for instrument strings. The price of nylon strings is kept down
because the great volume of this stuff is being produced for industrial
purposes. What we need is a military use for gut strings. Then
I would like to point out that when people use gut strings
today they are using modern gut strings, not historically
informed gut strings!
One common feature of old lute instruction books is the
test to see if your strings are true. I don't think
this is to see if they are subtly outs - as
gary digman wrote:
It occurs to me there may be a touch of irony in this concern with
being historically correct, We're the artists whose aesthetic we are
trying to embody concerned about being historically correct? If not,
is not our concern for historical correctness unhistorical?
Of
We're the artists whose
aesthetic we are trying to embody concerned about being
historically correct?
I think there is a confusing typo here: we're instead
of were.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
It should be noted that the momofiliment for nylon strings is
not being made exclusively for instrument strings. The price
of nylon strings is kept down because the great volume of this
stuff is being produced for industrial purposes.
I've tried fishing line before. Very bad as a lute
--- Howard Posner [EMAIL PROTECTED] wrote:
gary digman wrote:
is not our concern for historical correctness
unhistorical?
yes and no: politicians seem to behave as if they're
servants of history but artists shouldn't even touch
it with a stick. craft is another matter - lots of
gastric
I think the answer to this is absolutely not! I found the collection
of essays entitled Authenticity and early Music, edited by Nicholas
Kenyon (OUP 1988, reprinted 2002) very illuminating on this issue.
Will Crutchfield covers this very point, suggesting that
consciousness of historical
At 04:38 PM 10/27/2005, Vance Wood wrote:
So it could be argued that if being a purist is the
essence of good Lute practice could it not also be said that playing a
modern reproduction Lute using modern wood working tools from computer
generated plans under unnatural lighting conditions is also as
Dear David,
These are three of the Edward Paston Lute Books. There are five books (see
end). That is where I thought you might find works by Victoria. But I looked
through my list and could not find him. Perhaps he is there, but not
identified. Paston must have had Spanish connections.
His New York concert was not on an all-gut axe...
RT
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: lutelist lute@cs.dartmouth.edu
Sent: Friday, October 28, 2005 4:55 AM
Subject: [LUTE] Re: Gut CD
Matthew Wadsworth makes very beautiful lute cds on all-gut lutes. Listen
Well, Wayne, they might not be historic, but the ones I use are as
historically informed as it gets. Talk to Nick Baldock. Years ago I used to
engage him, Kuerschner, Larson, Seegerman and others in lengthy discussions
about the subject and I am in awe of their commitment to solve as many
problems
At 11:30 AM 10/28/2005, Herbert Ward wrote:
I've tried fishing line before. Very bad as a lute string:
thuddy tone and untrue. If you use it in an emergency, don't
expect much.
I have used it in an emergency too, and it strikes me as akin to any other
nylon. I think, as in nylon
I'm new to lute-playing (and didn't come to it from
guitar, but from playing early music on winds) so have
learned a great deal from this discussion strings -
thanks.
Could any of you give some advice about where to buy
strings, of gut or of nylon? Who makes the best? Who
gives the best value for
Thank you for the correction, Herbert.
Gary
- Original Message -
From: Herbert Ward [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Friday, October 28, 2005 8:15 AM
Subject: [LUTE] Re: Gastric distress (gut)
We're the artists whose
aesthetic we are trying to
I recall talking to Julian Bream after a concert 25 years ago, and I asked
what brand of strings he uses. He replied, I use fishing line.
Actually, Toyohiko Satoh was the first tot use carbon strings in or around
1986. They were brought to his attention, in that it came on spools it
was a
It seems to me whether something is musically worthwhile or not is largely
subjective, i.e. worthwhile to whom.
Hence, the question of whether to use gut or synthetics is a personal
decision and the question of validity is mute. Danyel likes gut and others
like synthetics for whatever reasons.
aquila corde if you're in the us:
http://www.aquilausa.com/
aquila corde if you're in europe:
http://www.aquilacorde.com/
they make strings for a wide variety of musical
instruments from a dense nylon called nylgut - a
synthetic alternative to gut.
some think they're fabulous, others less so
Yes, rock on! I'm actually more interested in the audience experience at this
point and therefore use nylon. If I was only playing for very small groups
(under 20) in very ambient spaces I'd probably switch to gut or have a lute
only in gut for that purpose. But nylon is more dependable, louder
Right;
But do you really want a student lute comparable to the student or band
instruments made of plastic and sold at Wal-Mart? Or even the basic models
of brands like Buffet or Selmer, carelessly assembled and made of terrible
materials in China? Shouldn't we rather be glad to play an instrument
3D
danyel [EMAIL PROTECTED]= /B=20
10/29/2005 03:42 AM ZE2
= /TD 3D
To
3D
Lute = List lute@cs.dartmouth.edu
3D
cc
3D
3D
bcc
3D
3D
Subject = ;
3D
[LUTE]= student lutes (Re: Who wants to sell New Boy a lute?)
3D3D
Really, this is
Demonstrating absurdity by being absurd? You're right it is a conundrum no
matter how you figure it.
Vance Wood.
- Original Message -
From: Craig Robert Pierpont [EMAIL PROTECTED]
To: lute list lute@cs.dartmouth.edu
Sent: Friday, October 28, 2005 11:51 AM
Subject: [LUTE] Re: An epistle
The *Modern Gut* is ground to make it regular, round
and smooth and the same diameter all along its length.
Some string makers do that, yes. Others don't. Dan Larson for example has a
long cutting table and cuts the raw material by hand, following the fibers
of the gut. So his trebles don't
There are emergencies and then there are necessities. My flat back was
designed too with too long a VL for a G tuning of the chanterelle, a fact
that the kit maker has corrected in his new version (due to my input). You
all know that gut has a lower breaking pitch (given length) than the
I yet have difficulty understanding the purist as I'm not sure how one
defines what is pure. Yes we can attempt to duplicate the several string
formats of old, and we can duplicate the instrument from museum pieces (but
never exactly how they sounded together). But can we duplicate the tempi of
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